This work is the culmination of years of immersion in wax. Every moment of the process is mesmerizing: the melting, the pouring, and especially monitoring the wax as it solidifies. The mutations in color and opacity are almost completely unpredictable and always beautiful. The method involves layering and blending different waxes with laser-cut plexiglass shapes: either circles, or geometric objects created from circles. The resulting imagery is reminiscent of Color Field Hard-Edge paintings of the '60s, although any "hardness" is tempered and obscured by the layers of wax.

The slow progression of embedding objects in the viscous wax, while selectively encouraging and discouraging air-bubbles, mixes the straightforward constraints of technique with the unpredictable variability of the medium. High-tech plastics, immersed within the organic and aromatic beeswax, produce seemingly oxymoronic art-objects that linear language does not describe. I've been mining the poetry of Emily Dickensen for titles since I began working with wax in the early '90s. My never-ending attempt to capture the elusive, properly situated air-bubble, to create something ethereal out of the mundane, is aptly Dickenesian. Her idiosyncratic verbal juxtapositions are the best mirror I know to reflect my work.