By focusing on the skin of her objects, employing the vinyl veneers of commercial communications, Jazvac has eliminated their knowable form, leaving us to deal with their shiny, seductive, yet rumpled and drooping surfaces. No longer identifiable as attempts at replicating high-end appliances or the vestiges of resort destination hotels (Paper Towel, 2007), now the surface holds all of the artist’s attention, and is laid out like a skin for our evaluation. Draping along walls and propped up against columns, we can consider it as a proposal for a renewed and ongoing examination of a formless form that challenges our perception, and by so doing captures our interest. Like the yuppie-tracking coureurs de bois in the Kids in the Hall sketch, Jazvac has taken surface materials used to coat, to display, and represent, and peeled them back, hoarded them, hollowed them out to create a possibility for new accumulations of intent and meaning.