In JAWS: All Bites Reserved — 20, Arlo Sinclair resurrects one of cinema’s most iconic posters, translating Spielberg’s 1975 blockbuster into the language of obsolete computing. A monumental 20-inch sculptural floppy disk, fabricated in acrylic and aluminium, is adorned with a hand-painted label featuring the classic JAWS imagery: the menacing shark rising from the depths toward an unsuspecting swimmer. Sinclair overlays the familiar composition with tongue-in-cheek details, including the warning: “GONNA NEED A BIGGER FLOPPY DISK,” and a faux copyright line reading “© 1987 Nature’s Revenge for Over Fishing Inc. All bites reserved.”

The addition of smeared blood-red handprints across the disk’s upper corner amplifies the horror-tinged satire, while the faux wear—creases, scratches, and distressed edges—grounds the work in Sinclair’s ongoing project of transforming obsolete technology into cultural fossils. The oversized disk, labeled “Disk 1 of 42,” evokes both the absurdity of outdated storage capacities and the endurance of JAWS as a cultural behemoth that continues to loom large in collective memory.

By reframing a Hollywood classic within the aesthetics of retro technology, Sinclair highlights the intersections of entertainment, fear, and obsolescence. Just as JAWS reshaped cinema and audience psychology, floppy disks once redefined how information was stored and consumed—only to become redundant relics themselves. The parody collapses these timelines, transforming nostalgia into satire and critique.

As with the wider 2024–2025 series, JAWS: All Bites Reserved demonstrates Sinclair’s ability to re-script iconic imagery with humor and critical edge. It is at once homage and lampoon, elegy and provocation, elevating disposable media into lasting cultural monuments.