These personable collages, so suit­able for any modern interior, were pro­duced by combining remnants from the advertising world beneath brilliant oil glazes. Newspapers, placards, photos, half-tone screens, hunks of typography, (preferably European) form the back­bone of stylish debris upon which Por­ter hangs his signature. A skilled de­signer with a flair for playing contrasts of matte and glossy finishes across bold shapes, his handsomest works Di Roma and Reverting to the Classic are dramatic red and black emblems. But like a good shoeshine, Porter’s pol­ish is strictly temporary.

––Rosalind G. Wholden