Creating a fabricated historical continuum as the point of departure for how I express myself visually is a central tenant to my work. These “source materials” work largely with the primeval luminous characteristics represented by contrast of hue. Contrast of hue is the color theory used internationally in folk art, costume stained glass and illuminations. The periods of time I fabricate are mostly Medieval and Renaissance from Europe to the Middle East. These are almost always faking religious sources. The manuscripts and stained glass I am inspired by are also wonderful examples of abstraction and emulating Fibonacci’s Golden Section Geometry. Psychologically, I feel safe inside all of the enclosed and outlined spaces I work with. All the millions of dots and shapes I use in my stained glass motifs, illuminated manuscripts and aniconic motifs are enclosed. Source material, craftwork, handwork and manual labor are synonymous for me. I need to use my hands in time with my mind or I get heady and out of sync. Crafting gives me space to process. Rather than submitting images of the “raw source material”, I’ve chosen pieces which are illustrative of their progressive range of usage. That said, if you find yourself disturbed by the age incongruities, think of it in terms of the revelations regarding the paintings beneath Masters such as: Picasso, Van Gogh, Goya, Seurat, Allori and Martinez paintings. We all have our hidden iconography and history, I’ve made it clear I bring it forward with me.