McNutt’s media choices appropriately convey three different lenses through which Pittsburgh is viewed. Most prevalent in the show are large digital prints that combine the artist’s hand drawn and painted imagery that is then scanned and altered through the use of digital tools. While we can see the element of the artist’s hand in his whimsical melding of perspectives and expressive line work, an element of mystery exists, as we don’t know what exactly was made by the hand and what exactly was digitally altered. This seems appropriate as the artist drew scenes of his youth from memory – the digital manipulation keeps us at a distance from those memories, which can no longer be taken as exact truths. Pixilation appears in pieces where smaller images were printed at a larger scale, also emphasizing this veil of separation or imprecision.
The video components of the exhibition share a glimpse of current-day Pittsburgh. The most successful video is shown on a large screen that faces the windows next to the entrance of the gallery. One can comfortably view the video only from the sidewalk outside the gallery, through a window. Perhaps an effort to draw in passers-by, this format also sets up the idea of separation that penetrates the entirety of the exhibition. The footage shows East Liberty station and a snapshot of people encountering each other at a transportation hub. Another video features the ground as the artist takes a walk in the city and feels less relevant. While it indicates the artist’s return to Pittsburgh, it doesn’t add anything new that is not already present in the other works. If the videos were more documentary and informative in nature, they could be more effective counterparts to the digital prints that conjure up Pittsburgh through memories.