Bolton’s recent sculptural print installations have literally come off the wall to become freestanding versions of his earlier wall-based screenprints and digital banners. His print installations introduce a different kind of open-ended, associative narrative structure – one that more fully merges fiction with reality – one that is reconstructed from a collection of metonymic fragments in which the many seemingly unconnected, unrelated images and objects represent parts of a larger, and not yet defined whole. All the objects in Bolton’s installations are hand-made multiples – cast from rubber molds of real objects using UltraCal (a plaster-like material), resin, or foam. The objects are hand-painted and airbrushed to fool the eye in a distressed, faux-folksy style. At first glance, these objects appear “real” in terms of their surface appearance, but a closer look reveals that they are actually artful copies or simulacra. All the images in Bolton’s installations are also print-based multiples – combining digital printing processes on canvas and vinyl; as well as traditional printmaking processes on paper, Mylar, and wood panels.