Like my earlier work, these latest pieces deal with duality and paradox. For example, some examine how light creates an illusion that something two-dimensional is three dimensional. Others show how light or an illuminated object simultaneously appears to advance and recede; or, how light renders the invisible, visible; and the tangible, intangible and vice verse. In many of these installations, I contemplate ideas of natural beauty and renewal through synthetic orunconventional means. In Untitled, Red Line, a diffuse red line of light radiates from a narrow horizontal opening cut into a wall, just above eye level, evoking for me the quality of light at sunrise or sunset. Because the way the piece is constructed, it is difficult for the viewer to determine whether the line is inside of, or, extending in front of the wall. Unlike other light-based art, these pieces do not necessarily rely on placement in a darkened room. Situating this work in a normally-lit space only accentuates their object-like qualities. In this context, these sculptures allude to traditional color theory in an illusionary and painterly way. The light does not illuminate or create space, but dimmed and restricted in placement, registers as a physical object. At the same time, the elusive, vibrational energy of light shines through as an interactive experiential phenomenon. The Lantern series consists of columns of light, housed in centra, ranging from six and a half to eight feet tall. These feel object-like and sturdy, but the light within cannot be contained and flows out the bottom. These pieces demonstrate the attempt to portray light as an object in contrast with light’s natural tendency to radiate. Another installation series, Wall of Blooms, creates a three-dimensional impression of a flower, fully unfolded and kaleidoscopic, using a light bulb set in a mirrored chamber. Groups of individual blooms are set into a wall. At one level, the blooms in "Bloom Field"gives the impression of flowers in a field, while the choice of material and presentation comments on technology standing in for the natural world. My work has been growing in scale, hopefully, enabling me to engage in a more public exchange of ideas. Light is elusively enigmatic. I enjoy playing with these qualities, perceptually and as a carrier of meaning. If I were to characterize my work, the underlying concepts and content is informed by Surrealism and stems from my love of the absurd. Stylistically minimalist, I strive for classical elegance and proportional balance. In doing so, I want to aesthetically entice the viewer while conceptually and perceptually challenging assumptions about how we look at the familiar.