Rays embodies perhaps the most pared down study of abstraction within my practice. My starting point is the rods of colored plexiglass that I collect, prop up and suspend in my studio. I observe light passing through these translucent bands and photograph their material properties and fleeting hues. I still wonder at the way in which the permutations of time of day and season seem to create a seemingly infinite palette of color.
Over the course of five years, I have created a photographic library of observed, temporal bands of coloration that I merge and combine on my desktop to create striped visual amalgams of time and light. I have also made forms of molded colored plexiglass that I design into structures and surfaces. I think of these sculptural works as quasi-photographic. Light passes through the bands of plexiglass, casting refractions of colored light onto their close environments – the play of light is ever-changing and subtly presents itself for observation. For me, these works are durational photographs that are waiting to happen.