Christopher Wool's Pattern Paintings from the 1980s mark a significant phase in his artistic development. These works are characterized by the use of industrially produced patterned paint rollers, a technique Wool adopted to create repetitive, floral, and abstract designs that mimic the look of wallpaper or textiles. This method allowed Wool to explore themes of decoration, replication, and the boundaries between fine art and everyday aesthetics (ArtBook) (Skarstedt) .

The Pattern Paintings emerged during a time when Wool was gaining prominence in the New York art scene, known for his graffiti-like text paintings. The pattern works stood in contrast to his text-based pieces, offering a different form of visual repetition and structure. Utilizing black enamel on white aluminum or linen, Wool's patterns often feature stark, monochromatic designs that play with positive and negative space, emphasizing the mechanical process behind their creation (ArtBook) (Skarstedt) .

These paintings are not just about decoration; they challenge the viewer's perception of art by blending high and low cultural elements. The use of commercial paint rollers, typically associated with mundane, domestic tasks, in a fine art context, questions the hierarchy of artistic media and methods. Wool's Pattern Paintings thus resonate with the postmodern critique of originality and authorship, positioning him alongside other contemporary artists who explore similar themes (ArtBook) (Camden Art Centre) .

Wool's Pattern Paintings from the 1980s have been described as both dissonant and poignant, with critics noting the tension between their decorative appeal and the industrial, almost impersonal technique used to produce them. This body of work remains influential, reflecting Wool's ongoing interest in the mechanics of painting and the cultural implications of visual patterns (Skarstedt) (Camden Art Centre) .