Between the layers of white

paint used to gradually

erase the paintings, the wall

became a life-size palimpsest

of interwoven traces of temporary

painted marks, gestures, small sketches,

lines, and shades. These are the remnants of various paintings' beginnings and ends; erasures upon erasures, geometric forms, words, symbols, kinetic inscriptions, and other marks and gestures superimposed over time. Although they are the beginnings and endings of previous paintings, I see them as layers of gestures applied to the panels over time, with no beginning or end; they have never been arranged to form a permanent, settled work. They are all part of a gestural sphere, archived on the studio wall.  . While I documented the process chronologically, when viewed on the wall, there is no chronological order, only multiple reiterations that are completely interwoven. Occasionally, and with each successive erasure,