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In his previous work, looking at conflicting stereotypes of small-town eastern Washington and small-town USA in general, Barlow sought to incorporate perceived truths, or evidence of actions believed to be common small town activities, with contrasting culturally-ingrained notions of idyllic small American towns as safe places to live.

Continuing with complementary and contrasting mediums, Barlow’s body of work, Riddled, draws from America’s gun, entertainment, and safety/protection culture. With combinations of bullet-marked steel boxes, safety colors, foam earplugs, hunter-discarded deer parts, and related objects, Barlow’s paradoxical and peculiar work bridges the gap between amusing and intimidating. Drawing from the concept of psychic automatism as implemented by abstract expressionists, especially Jackson Pollock, Barlow’s bullet-riddled sculptures similarly exist illusion free, referencing a collective, rather than an individual, American subconscious.