Painting is receding into a system of unconventional signs; Hume's Shining allows him to communicate telepathically with a series of disordered fragments of our post-Pop aesthetic. His work shares those extrasensory qualities possessed by little Danny in Stanley Kubrick's 1980 masterpiece The Shining. Hume's panels all have a weird way of looking, overlooking, and relooking at the idea of painting as a way to communicate with something larger than us, something exterior and far away. The painter succeeds in bridging the failure of '80s imagery to reaffirm the importance of our most private and tasteless visual perversions. In presenting the insignificant icon of a snow-man, painted or in color-altered photographs, Hume re-establishes the importance of any pathetic statement.