My practice comes out of the history of object-oriented painting. There is a tension between looking “at” something and looking “into” something. While working in a theater company’s workshop, I arrived at a language of assemblage. Stages are similar to painting in the interplay between image and object. Built offsite, transported in parts, and reassembled in the theater, they are utterly unconvincing up close. Yet from the audience’s vantage point they are believable. My work is built of multiple parts whose interrelationship forms a unified whole. It includes images and structures from color field painting, minimalism, feminism (through pattern and decoration), as well as objects of modernist and American design, such as furniture parts, fabric, patterning, tropes of display—like tables and curtains—fans, screen shapes, and reconfigurable architecture. These forms all have possibilities of arrangement, and are simultaneously images and objects, theatrical worlds and stages.