Two-sided paintings on acrylic sheets are suspended between narrow corridors. Painted on both sides simultaneously, the clear substructure of the paintings allow them to develop both from the top down and from the bottom up. Viewers approaching the “front” of one painting can also witness the very bottom layers of the painting on the “back side”, thus providing an inside-out glimpse of how a painting has developed. I see this way of painting as a method for capturing the passage of time as the painted language evolves. These paintings become almost geological in their ability to compress this widely varying visual vocabulary into a dense, petrified slab of information, as if granite or marble.