An idea borrowed from the playwright Richard Foreman -- bring the unnoticed objects and feelings from the background into the foreground -- seeps into my work. I like the idea that I can think of an object, a landscape, an event (that I barely put together at the time) and find the facets and bits of light or edges and set them down, working on reconstructing the complexity of the moment as it was experienced. I am not trying to see time in a snapshot (because there is a reason photographs came to be called “stills”) but as a series of glimpses, a color, a touch of what was behind, to the left, to the right. In this room, at this moment, you might turn your head and see one painting, then a photograph, then another person, then remember where your keys are, then return to this sentence. It’s all about movement -- of mind, of feet, of place, of time -- and trying to capture the chosen instant on a two-dimensional surface.