My work questions painting as a flat, immobile 2-D object. For instance, “Bolts of Blue” takes a painting from one wall across the room to another. The work also challenges the notion of art as an immutable form. The pieces are created to adapt to different contexts, influence and be influenced by their surroundings. Thus, they can be re-configured; or, like “Le Ballet Mechanique” —using electronics, they can re-configure themselves. Increasingly, such ideas have necessitated working with collaborators —with engineers for my individual works and with artists around the world for my large-scale projects in the guise of TransCultural Exchange. These collaborations have allowed me to expand my ideas of what defines art itself.