Beacon, New York, 2006 from painting to sculpture. In my studio, at the time, I was stretching three large canvases. I had tightened them around some heavy wooden stretcher bars that someone had given to me. Once finished, I found I didn’t want to paint on them. Until that point I had spent about three years experimenting with just about any material I could get to work on a flat surface. Some of it included pouring large amounts of paint between large rolls of heavy paper and thin sheets of plastic.