The starting point for these photographic images was a series of oil paintings on masonite. I began to cut some of these paintings, the work of my grandmother, Helen Palmeter, into strips and subjected them to mostly random arrangements for photography. Printed as overlaying pairs they were reconstituted as a “collaborative” activity more than seventy years after their initial painting. Images of the painting slices were also combined with photographs of a variety of objects including foundry patterns, toy blocks, metal shapes, measuring devices and tools. While I enjoy a remaining cache of unsevered works for their completeness, I find myself often returning to the fragments of her landscapes and portraits for other projects including sculpture. The fragments tap into something more personal and powerful, where color and brush strokes are given freedom from their original representational duty.
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