moment. This has to do with form and colour and the propensity of colour to induce reverie. Consequently, I hope, an elongation of time. Space is as complex, the space contained in an object must be bigger than the object which contains it. My aim is to separate the object from its object-hood. I think of this work as a sort of descent into limbo, a sort of going below, going beneath, going underground, even though it's completely above ground. What I'm trying to deal with is a sense of disorientation, that causes one to readjust one's view, even if it's only for a minute, in order to sort of re-sight oneself in relation to the volume, in relation to the colour, et cetera. At the heart of this is darkness. I think I've had three or four moments in my work over the last twenty-five years that have been real discoveries. The pigment pieces felt to me as if they were a discovery about an object and what an object can be; how an object can be and not be. Then, of course, the void pieces . The idea that if I empty out all the content and just make something that is an empty form, I don't empty out the content at all. The content is there in a way that's more surprising than if I tried to make a content. So, therefore, the idea that subject matter is somehow not the same as content. Then, in a