This work is part of an ongoing series started in 2012 and titled Decal.
McGlynn is interested in how a minimally-determined presentation of form can critique the residual meaning of the mediated imagery of popular culture, including corporate logos and perhaps more common signage.
"Decal" refers to a type of appliqué culture, a disembodied phenomenology of color and form. The title meant more in a connotative sense than any strict conceptual denotation.
The emphasis in McGlynn's work is not so much the continuity of a heritage of "pure" abstraction as much as it is an investigation into how societal abstractions can become assimilated as a "second nature" in memory and in poetic displacement.