I want to focus on the multiplicity of the objects in each component of the installation. Hanging the prints vertically and overlapping them give an added emphasis to the repetition of forms when multiplied - 100 now becomes 600. Although the printed images are partially obscured, one knows instinctively that they continue, though unseen. In front of each of the prints, trays in which actual objects are placed. These objects are selected from the natural world and are chosen because of their relationship to the depicted objects, and also because of the powerful presence that real-life objects can have. The objects reiterate the repetition and the unique qualities of each form when examined more closely. This sense of order is the rhythm we experience through uniformity and repetition. But at the same time we feel this sense of order, we also notice the novelty and the unexpected, which is a constant surprise. This is what we see in the natural world when we become familiar with that environment.

This piece is about repetition and timelessness. Repetition is essential to suggesting the flow of time, which is a significant component of each object's full nature. Within the unfolding continuity of sameness, I wish to see an isolated form, which can emerge from or disappear into the whole structure. My examination is at a particular point in time.

The Nature of Matter, 1996
Lithograph,  110 x 212 x 16 in

The Nature of Matter, 1996
detail