It makes no difference whether we are
face - to -
face with one of his large format images, in which he allows the pigments dissolved in epoxy resin to run slowly down the picture carriers in satiated, glistening vertical stripes; or whether we study those works in which small drilled craters disclose many apparently archeological
layers of paint, or find ourselves in one of his site - specific, all -
over paintings that cover the walls, floors and ceilings, their iridescent stripes of color subduing
entire architectures and permanently altering the viewer's perception.