In 1999/2000, I reduced my palette to black and white paint only. Most surprising was that within these absolute opposites, I could create an illusion in painting that connected directly to a memory of space. To create a colorful juxtaposition, close-up shots from media and video loops simultaneously demanded the viewer’s attention. These dualities of illusion and presence were further enhanced in 2005 when I introduced mirror glass fragments directly onto the picture plane. This interactive form allowed the paintings to begin seizing upon everything they surveyed. Rather than allowing a viewer to passively consume the artwork, these pieces trapped fragments of the surrounding room within the canvas. Acting as open-ended healing devices, this body of work forced an ongoing dialogue between looking inward and looking outward—awakening a consciousness of self within a space-time continuum.