B.O.B. is an installation made up of multiple elements, structured to form an experience that moves from investigating a realm of the popular imagination to triggering a flood of mental associations and physical sensations in the viewer. B.O.B. was preceded by three trailers on the web; each video – lasting about one minute, and featuring the voice of artist and musician John Duncan – is based on manipulated archival images of the late-’70s American TV series The Dukes of Hazzard, and is as much a key to interpretation as a trailer for the exhibition. The installation consists of a site-specific work (a tub of slime, a sort of obstacle for visitors, who are fitted out with booties so that they can move carefully through the space, gradually tracking the green liquid everywhere); a two-channel video installation, with one monitor showing a former munitions depot converted into a farm, and the other the exploration of a cave; a sculpture made of polyurethane resin; a photo of the interior of a cave (244x244cm); an airbrushed picture on sheet metal (250x135cm) showing three figures against the background of the same converted munitions depot, and lastly, in an adjoining space, three wooden panels presenting archival images reworked on paper. B.O.B. is inspired not by a landscape, but by three characters who overlap and intersect throughout the exhibition. One is imaginary (Bob), one is fictional, but lives on in television reruns (Uncle Jesse from the Dukes of Hazzard series), and the last is real, but alludes to the mysterious laws of an imaginary world (Glenn Danzig). The entire genesis and realization of the work was a process structured in stages, culminating in the exhibition at Galleria Patricia Armocida. B.O.B. is an attempt to express the many, varied ways that codes and imageries can shift, overlap, and be interwoven; every element in it embodies a function, evokes a potential story, and is recombined with all the others, opening up to reveal new and different references.