( 1999 – 2007 )
After moving to Houston in 2000, I began to use the variability of gridded color patterns or panoramic color spreads to intimate images that are simultaneously iconic and multivalent. Painted on Braille pages gridded for graphing and mathematical calculation, they are constructed intuitively and based on simple contingencies. The multiple panels ofScattershot, for example, are identical and symmetrical, and can be arranged in multiple, Rorschach-like combinations. The color spreads of paintings like Evening Dispersion and Dance Card generate latent images, reinforcing the idea of painting as the nexus between abstraction and representation, object literalness and allusive metaphor.