In his multimedia installation, Entrance Stone, Brendan Lynch further explores his relationship with the instructional painting videos of Bob Ross. Ross, who rose to prominence in the 1980’s for his public access television program, The Joy of Painting, is still widely recognized for his charmingly picturesque landscapes. After several years of employing Ross’s methodical style of painting, Lynch deftly manipulates the repetitions, colors, and patterns of its techniques as a guide for creating his own original dreamscapes. Unlike Ross’s neatly resolved compositions, Lynch’s works exist in the tenuous space between incompletion and completion, suspended in a perpetual state of coalescing. Working within the constraints of Ross’ vernacular, and drawing inspiration from minimal ambient composers such as Harold Budd and William Basinski, Lynch develops sparse and meditative landscapes that emphasize the subtleties within his process. Similar to Basinski’s

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