In his recent works Thomas Raat uses the aesthetic concepts of what he calls ‘slipstream’ Modernism: the point where the radical aspects of the Avant-garde turn into an apparent convention and where the intersection between form, utility and history becomes paramount. Raat is specifically interested in the notion of the ‘true-false’, the substitute or actually the value of the residue, which he researches by appropriating book cover designs, public sculpture, advertisements and other sources of applied art and design.