"More unnerving, on the other hand, are those occasions when the impression of an “effect” arises not through the actual filter package but rather through the artist’s use of its model—when, in other words, Price himself makes work that seems composed of direct appropriations of preexisting sources, even when that isn’t the case. For his Silhouettes, a continuing series of wall sculptures begun in 2007, for instance, the artist uses elaborate manufacturing procedures to create a flat wood-veneer surface under acrylic that at first glance is likely to seem ready-made. (Indeed, while the production of veneer is a centuries-old craft, the synthetic look of the wood—generated by the Rorschach-like patterns and repetitions of the grain—lends it the automated air of a design technique. Some viewers may even view this material as “faux” wood, wherein something completely synthetic or premade is made to mimic a rustic naturalism. [...] It is important to note that certain Silhouettes and closely related sculptures are made using other materials and processes. For some, such as Stencil, 2008 (see page 284), the artist will send a CAD file to a routing facility and, after wall-mounting the resulting Dibond sculpture, spray-paint the object with auto enamel. For others, such as Gold Key, 2007, he will use UV-cured ink-jet printing procedures on Dibond sheets, which are subsequently cut. In both cases, the pieces might seem made of steel to the naked eye when in fact they are quite delicate." - Tim Griffin, "The Personal Effects of Seth Price"

AA.VV., "Altermodern: Tate Triennal", catalog, edited by Nicolas Bourriaud, Tate Publishing, London, 2009, pag 188.

Sitography: GRIFFIN, Tim, "The Personal Effects of Seth Price" www.artforum.com, 2009.
www.artforum.com/features/the-personal-effects-of-seth-price-191190/