Information and image, the theoretical representation of a painting, share an equal significance and presentation on the page. We understand that each factor into how one presents an artwork in a book– the visual and the text, each being artificial and each reflecting the others lack. The selections exist in structure that sometimes wraps around the page that presents a kind of coexistence amongst the works. Literally and figuratively each painting is known with the half of another painting in mind. A rhythm marches on– sometimes elegant juxtapositions flow accordingly and sometimes a work more jarring presents itself. The dates of the works range from 2003 to 2012, and no real linear formal developments are made. But we get a sense of the undulation of bodies and themes– the subject matter for an image from 2003 is presented in a work from 2010, we see different ways that text is used, from notebook sized pencil scrawls to large charcoal writing to tight silkscreen, to vinyl letters. Electronic components present themselves mysteriously in the details, as does Plexiglas. In the end we take away a sense of the relationships within the larger body of work.