The cotton cloth is a very pale blue-gray. It has been folded, ironed, cut, and draped over the rod. The rod and the string are part of the piece. Photo Adam Reich, Thomas Rehbein Gallery, Cologne

The cotton cloth is a very pale blue-gray. It has been folded, ironed, cut, and draped over the rod. The rod and the string are part of the piece. Photo Adam Reich, Thomas Rehbein Gallery, Cologne

The cotton cloth is a very pale blue-gray. It has been folded, ironed, cut, and draped over the rod. The rod pictured here is painted wood, but I am now using aluminum rods. The rod and the string are part of the piece.

The cotton cloth is a very pale blue-gray. It has been folded, ironed, cut, and draped over the rod. The rod pictured here is painted wood, but I am now using aluminum rods. The rod and the string are part of the piece.

ODETTA, Brooklyn

ODETTA, Brooklyn

Two randomly cut rectangles of black cotton cambric are laid across a carefully cut 72 x 35 inch rectangle of the same material. The pieces are arranged to create subtle tension with one another and the base piece. At first encounter this presents as a uniform black void in the floor, however on close looking one perceives the slightly irregular edges of the cut pieces against the uniformity of the base piece. Exploration of the the three-dimensionality of materials commonly perceived to be two-dimensional. Engagement with the floor plane as a legitimate site rather than simply a base for work to rise from.

Two randomly cut rectangles of black cotton cambric are laid across a carefully cut 72 x 35 inch rectangle of the same material. The pieces are arranged to create subtle tension with one another and the base piece. At first encounter this presents as a uniform black void in the floor, however on close looking one perceives the slightly irregular edges of the cut pieces against the uniformity of the base piece. Exploration of the the three-dimensionality of materials commonly perceived to be two-dimensional. Engagement with the floor plane as a legitimate site rather than simply a base for work to rise from.

Larger square overlaid on top of smaller square to allow translucent edges. Barely visible narrow strip of cloth overlaid at one side to add a third layer of dimensionality. Table or floor piece.

The Blantom Museum of Art, Austin, Texas, gift of The Laurence Miller Family Collection

The light strip along the center is the selvedge.

Site-specific installation at St. Cecelia Convent, Brooklyn New York in "A Place To Which We Can Come" exhibition curated by Serra Sabuncuoglu. Black fabric stretched across a nun's bedroom chamber in an abandoned convent, pulled upward near the door frame and draped to block entry. Inspired by De Maria's New York Earth Room and my Catholic school experience.

Exhibited in "InVisible: Art At the Edge Of Perception," Mass MoCA 2010

LeWitt Collection, Chester, CT

Collection of Agnes and William Peele, West Hartford, CT