1991. Installation view orange side.


1991. Green side. Wood, glass, paint.


1986. Wood, aluminum, copper, light, canvas, paint.

Material Value

1986. Wood, paneling, fabric, paint, light, glass.


1986 - 91. Oil paint, wood, copper, glass.


Fragments of architecture – walls, windows, display cases – form the structural basis of these works. As large objects, they provide complex contexts for the images or texts embedded within.

 Material Value uses everyday home renovation materials to frame a vitrine of overlapping paintings. These paintings inherently valueless as autonomous objects of art are displayed as if they were of commercial commodities, objects in stores.
Translation investigates ideas surrounding the convention and reception of still life painting. This marginalized genre and its a domestic subject matter is overlooked within art historical and theoretical discourse. The familiar image of still life is substituted by its French equivalent Nature Morte.
Re-creation frames at a copy of a Jack Bush painting, of English Canadian abstraction, dislocated within both contemporary art practices and the context of the present day (1988). The objectives of modernism, universality of ideal form are  rendered inert as it collides with generic abstract painting.
Comfort uses impoverished materials as a sign of domestic codification and in this instance a site of simulation. The original is alluded to in the copper floor, its simulation in the large painting; the painting is itself copied in the small version that is mounted on the simulated stone wall board.