Museum artifacts are both historical records and objects of disinterested observation. Yet once these forms are illuminated and encased in glass, I am distracted by my own perceptions. I see the environmental idiosyncrasies rather than the functional objects.
Focusing on changes in color and light, I subdivide each surface into a network of shapes. Depending on how those shapes are framed, a single pigment has the parallel potential to render or unravel an illusion. Freed from historical limitations, the depictions may wander between representation and abstraction. Like the original artifacts, the paintings are both records of my perceptions, and independent objects for observation.