During my career I have also constructed works that were focused on a singular image. Initially, I chose an iconic image - the house - because it had been the focus of many artists and it had such a strong metaphorical context. In some instances, I chose to deconstruct the image to its essential outline. In other instances, I overlaid the image on a safety glass that could be fractured which I felt imparted another metaphorical layer of meaning .
The first series of fractured houses eventually extended to the tragedy of 9/11. I found the geometry of the World Trade Center to be a strong image and found myself immersed in the narrative of that event. For me, the fractured glass heightened the image - and the event.
From the 9/11 series I was drawn to producing a work that would, in some way, commemorate and honor the sacrifice of those American soldiers who died during the ongoing Iraq war.
The presentation of the Iraq "memorial" works on a several levels. Each fractured glass panel has a halftone image of a soldier who had died sandblasted onto the surface of the glass along with a statement of how they died. (I had found this information on the internet.)
Each "portrait" panel is set into an old window frame. When the window frame is hung 3 inches away from the wall and a bright light is shone through - the effect is to project the image directly onto the wall. The projection brings the image of the soldier as a living person into focus.