Tar, an unnatural mineral mixture produced through destructive means, functions in Double Up (Doubling) as a sealant of the bodily residue left on the unclean bed sheets from a Virginian adult penitentiary. The tarring of such sheets in the form of two conjoined mops presents a marking of both a material and spiritual force as the ephemeral - the (non)residue of bodies - becomes ensconced in the object's own materiality. Hence, Double Up (Doubling) sulks over the (im)plausibility as a mass of possibilities.
