The shaped canvas may be seen as an excellent vehicle for the display of light and color. Initial experiments dealt with the shaped canvas as a three dimensional sculptural substructure. Contextual changes led to the idea of an illusion: the sculptural painting. Efforts to resolve the relationship between free standing sculptural form and the wall canvas through specific continuities proved unsuccessful. The shaped canvas was next seen as a primary source for shape and form; as a distinct entity as distinguished from painting and sculpture. In this case, color was based upon naturalistic references. Sprayed color provided opportunities for the denial of three dimensionality. Sprayed color led to concepts of "suspension" and "negative" color value, a special condition. of "formlessness" results from surface treatment. Surface may be seen as the Source of light. "Formless painting" can be used to [extablish] a "real illusion" as opposed to ambiguous or implied illusions. Light projections used in overlay superstructure result in diffusion of light energy and color. Light projection is a necessary means to work involving pure spectral color.</p
