In the series of works known as The Poster Pieces, I have taken reproductions of well known paintings as a starting point for an exploration of various issues. To create each of my compositions, I rearrange fragments of a famous artwork, and I add a short text of my own invention. When I am engaged with the arrangement of the parts, I am preoccupied with formal problems. I manipulate the elements of line, shape, and color to achieve a structural integrity - a dynamic balance that creates a satisfying aesthetic whole. When I am devising the snippets of text, I am concerned with psychological states. I am probing the faces of past generations, looking for links to the human condition, as we know it today.

The Poster Pieces also have a very personal significance for me. At one stage of my career, I was deeply involved with photography. Indeed, the grid format that is characteristic of The Poster Pieces is derived from the grids of Polaroids that I created in the mid-nineties. Furthermore, the use of art historical images is intricately connected to my own professional life. Before becoming an artist, I was an art historian. As such, I spent a lot of time looking at famous works of art in their original and reproduced forms.

On another level entirely, The Poster Pieces have allowed me to deal with the issue of "art in the age of mechanical reproduction." The raw material of my artowrk is a poster that has been cut into units that resemble Polaroid photographs. Thus, the viewer of my work is confronted with an art historical likeness -- but it is presented in terms of modern technological procedures for the mass production of visual imagery. This additional layer of meaning is intended to provoke thought about the ways in which a work of art can -- and must! -- be distinguished from the plethora of media images that bombard us on a daily basis.

Thus, The Poster Pieces, like all of my artworks, are intended to provide a meaningful visual and cerebral experience, stimulating the vast human potential for looking and thinking.