My Braille paper paintings conflates the sensibility of touch with the immediacy of sight, creating the interplay between gesture and order, individuality and anonymity that I think is at the heart of contemporary identity.  My predominantly figurative approach to art making catalyzed in 1986, when I found a book of Braille paper on the streets of New York.  Braille’s tactile typographies suggested a way to inscribe content within reductive minimalism’s formal geometries. Paintings based on Shakespeare’s play King Lear, like Book of Daysand Kingdom, incorporate Braille pages as both the geometric structure and the literal body of each painting, with each painting’s palette inspired by the events transpiring in the text.  This tension between concrete and ethereal became my metaphor for the perceptual tension between looking and touching, comprehension and intuition evoked by the word haptic.