My work attempts to develop the relationship between optical and formal painting traditions in modernism via the literal surface of the painting and the object or objects represented. They are arranged to create an effect of simultaneous emergence and dissolution. They represent the falsely temporal aspects of the perceived world, the concretization of which only exists in the mind of the viewer. This thesis statement will address issues of surface and illusionism in modern pictorial theory and the importance of perception verses objectification. In addition I will discuss the subject matter, composition, and techniques employed to create the works. I will also address the influences of artists and writers that deal with similar aesthetics or themes
