Light and shadow — that's what the work is really about. The symbols are the shadows. The wall is the light. Or the other way around, depends how you look at it. The image you see is an old airplane I painted — a Douglas C-47, decommissioned, sitting in a field. I covered the fuselage in my script, white bones against the blue sky. The shadows of the letters change with the sun. Morning looks different than noon. The piece is never the same twice. That's what people miss when they try to read the alphabet. They're looking for meaning in the symbols, but the meaning is in the light, the shadow, the way the characters catch your eye or disappear into darkness. I work in black on black, white on white, because the contrast between what's there and what's almost there is more interesting than color. The spaces between the letters tell you as much as the letters themselves.
