Tyler Hobbs’ collection Incomplete Control champions the art of “allowing room for error and imperfection.” Unlike the highly varied pieces of the Fidenza collection, Incomplete Control seeks to create a continuous spectrum of closely related work that moves slower and focuses not as much on the multivariate kaleidoscope of combinations, but rather the complexity within the subtle differences between the pieces. 

Thriving upon the imperfections that can occur within the analog world, Incomplete Control revels in the chaos and unpredictable beauty that can occur from error and mistake. Each piece follows a design that is reminiscent of an Etch-a-Sketch that has run amok, allowed to run free from hither and thither across the page, the lines complex and running in a myriad of directions, creating abstract shapes that are occasionally filled with pale blue, pink, and tea green, such as in #67 and #71 and #88, whereas #52, #95, and #22 are the most vibrant in color, sporting bursts of blue, red, and green. 

The lines are complex and subtle, the design is mazelike, disordered, following no pattern. Particularly and #77 and #97 are examples of how the flaws of algorithmic production are celebrated, as designs taper off into frayed black lines, the lines overlap, get lost in each other, fade out into the horizon never to return, fade in and out. The complexity of erroneous creation is resonant throughout the entire series, each piece similar to one another as if cut from a great tapestry of a computer that had a nervous breakdown and expressed his despair and mental maelstrom upon the canvas.