The forms are a reference of time lapsing, as well. An example of this is when the Mona Lisa is painted into the same painting as van Gogh’s sunflowers. This combined image speaks to the evolution of painting from 1510 to 1880. Forms also relate to time in that, if when you are painting a small form in the distance and a large form in the foreground, both being of equal size when side-by-side, you are creating a dialogue about space within the flat rectangle.

The spiritual aspect of the work also speaks of time. What dimensions do we exist in presently? Will we always be in that dimension? Do we inhabit multiple dimensions at the same time? Do our dream images hold consciousness for us? Is there such a thing as time travel in real time or in dreams?

In using double exposed photography I try to explore “overlays” of time and space. I do double exposed images of my art over the “real” world. Another way of tackling the time/space issue is that I sometimes use art historical references in representing how time evolves trying to have each period “speak to one another.”

Many times, inadvertently, my images create a vertiginous feeling. The feelings translated to the viewer may be uncomfortable. I do not necessarily feel that this is a negative thing. I would hope that the viewer would, in this way, inhabit the world inside the rectangle.

The first phase dealt with time/space in vertiginous drawings on paper. I created swirling worlds of gravity defying space. Forms were precariously placed in an ever-shifting scene.

The second phase incorporated double exposed black & white photographs of the first-phase drawings superimposed over the real world. I tried to have the images integrate the imaginary world with the real world.

The third phase took art historical images and juxtaposed them in space.

The fourth phase was similar to the second phase. It differed in that I added color to the drawings, paintings, and photography. The work also moved to “outside” landscapes.

The fifth phase incorporated the spiritual world—space not defined by time, which is another way to have landscape morph back and forth. An example would be to have 14th-century Saints wonder in Central Park. It is another play on other dimensions existing at the same time.