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I related these to light intervals, trying with painterly means to program light and reflections on and off.

A: flat painted light gray outer, dark gray inner.

Painted under Plexiglas letter sign A in reflection upside down, on clear Plexiglas that covers the entire construction, creating a different plane.

V: flat dark gray tone outer, flat light gray tone inner.

Blue and green neon tubing portrays continuous movement of the A. On background are painted reflections in color--blue and green--related to neon tubing. This is also an approach to painting shadows of reflections with color--which I relate to Byzantine art as it uses color in describing shadows. THIS PAINTING ALSO RELATES [[strikethrough]] TO A WAY [[/strikethrough]] TO A WAY OF PORTRAYING OUR CONTEMPORARY CALLIGRAPHY THAT SPRINGS FROM COMMERCIAL SAURCES.

Entire construction portrays a drama based on many observations of Times Square's actual signs. Obvious moments of taking apart signs, with reflections and interferences coming from all directions, FROM ACTUAL DOCUMANTATION OF TIMES SQUARE.
I have many doubts about words that have been used and become established in the vocabulary of art. They are my despair because, although they include so many possibilities of interpretation, they ultimately place limits on understanding.
Since 1957 I have worked with fragments. Entire areas of my newspaper paintings were covered with fragments of printed material.

My Gates, done eight years later, are made with [[strikethrough]] fragments of [[/strikethrough]] FRAGMENTED commercial