Geometric shapes are used to obscure and create spatial tension. Elements of typical three dimensional space are left out or altered to engage the viewer. Using color and placement, the relationship between objects gives structural movement and provides apparent discord. The reductive elements are built within a system that is meant to be understood in its own context. The forms are in the midst of resolution.
The viewer seeks to complete the painting. There is no absolute resolution for the completion of forms. The incomplete transparent objects suggest that there is a final resting place for the objects in the space, but without reference to a physical plane the viewer is forced to resolve the elements within a mental space.
There are at least two possible ‘answers’ for each painting with each being equally accurate. Two apparent opposites can be true based on perspective. The forms are often rotated 180 degrees from the top half to the bottom, but the change in perspective misleads the viewer into thinking they are different. The underlying truth that they are the same creates movement throughout the work. This duality is essential to the work.