These vectors are not fixed; they are constantly radiating outward, branching off into new vectors on their journey. To elucidate this concept of nomadic vectors whizzing about within time pools, many of the paintings have sewn overlays of transparent film and film gels, which contain other elements – drawings, photographs, auction catalog pages, pills, fake fruit, ephemera, collages – which rotate and tumble inside the painting everytime it is moved, revealing infinite new compositions. The paintings become infoalchemical biomes.
Like a pool, the paintings mirror their surroundings due to the highly reflective nature of the mylar film. They are furthermore in flux due to the inclusion of the viewer and the environment into their compositions – evolving spectral tableau vivants – a place where time pools. In this sense, the works feel reflexively cinematic – capturing their surroundings while simultaneously broadcasting the viewer to herself within the paintings’ compositions. These works transmogrify the historical nature of a fixed painting into a simulated-time-based object.