絕對赤裸的香味

McCracken began producing his vibrant monochrome “planks” in 1966. While the polished resin surface captures the aesthetic of surfing and car culture unique to Southern California in the 1960s, the title was drawn from advertising slogans in fashion magazines. The work’s interaction with both the floor and wall is meant to call attention to the space occupied in the gallery by both viewer and object. “I see the plank as existing between two worlds,” McCracken has said, “the floor representing the physical world of standing objects, trees, cars, buildings, human bodies, and everything, and the wall representing the world of the imagination, illusionistic painting space, human mental space, and all that.”