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.