“By trapping the chemical skin of photography between the layers of paint List develops a dynamic dialogue between the two modes of representation. We must remember that these are not just silk-screened images, but actual photographs, the canvas – that most traditional support for oil painting – has actually been coated with photographic emulsion and exposed to the image in the dark-room, developed, washed and fixed; the delimiting aspects of photography are smuggled into the conventional arena of the easel painting, while at the same time the denotative signifiers of oil-painting trap in their wafer-thin interstice the veneer of photography. This praxis is in opposition to that of the photorealist painter whose “subject” is the photograph itself. “