What you see are stripes of packing tape, layered and wrinkled over clear Plexiglas panels, mounted on simply constructed light boxes. For years I have been painting glass on the light easel, seeing painting as a process of shading light. I invented my tape technique merely as a more effective way of patching light, and found that it triggers my intuition better. This is poor man’s stained glass, but tape suddenly makes it more alive. It wasn’t a ‘medium” for art until I decided it was; then it was.
Though my work does not fall into easy categories, I see it as a form of painting, in which the precise visual effect is a sum of expressive movements. The 2-inch tape acts as a wide brush, and the light behind the panels as an alchemist’s luminous blending medium. I like to draw in the old master’s sketch style of suggestive precision.
I tend to pick subjects, which juggle material and content in the liveliest way. When I work with classical themes, I am playing on contrast; expensive/cheap, beautiful/ugly. No one looks at the classics anymore; as soon as you use tape, they start looking again.
And this is what you see.