My work in this period often consisted of a painted subject, on a panel, that was inserted or cut into a secondary background surface – a window. A decorative picture frame traditionally served to separate a work from the wall it was on. My background surface was there not to isolate but to integrate the work and to lend a hand in the narration of the subject. The background became the ‘field’ supporting the story. As this work progressed, there were many times when the ‘background’ indeed became the true story and the ‘insert’ was relegated to a supporting role. These were constructions, small in scale at first and later expanded to wall sculptures up to 10’ x 12’. They were detailed in treatment and materials and varied in subject matter.
