… Stella’s Dillemma follows a progression of prisms with even numbers of sides: 4, 6, 8, 10 and on up to 26. Each prism is painted level by level from top to bottom with the colors of Frank Stella paintings from 1958-1965: black, aluminum, copper, primary/secondary and so forth until the bottom section displays the chaotic range of conventional and fluorescent colors from his Irregular Polygons.  Stella’s work from this period is a paragon for me.  In these years, Stella completes the project of modern painting, or at least the idea of it as a sequence of gestures that can continue forever, isolated and beautiful in their progress; the selections of colors become more and more complicated in their non-representationality until they begin to form a different kind of representation and the first steps towards painting after modernism.  This index of the end of modernism is the base from which my sculpture – ostensibly a very chaotic stack of seemingly unrelated colors – moves towards it’s own kind of indexical textuality.