My work attempts purposeful connections and distinctions between art and architecture through examination and response to the given light and material conditions of a specific place. Subsequent interventions follow on my part via electrical light and sound sources and other reflective/absorptive surfaces---a combination of found, constructed, and painted elements. Such a process synthesizes site and object into a complete installation that both questions influence of forms one to another as well as seeks perceptions of spatiotemporal presence within the site itself.  The latter proposes engagement with more remote concepts such as time and sublimity, ideas known through observed concrete records---light passage, material decay, and previous occupant’s marks and artifacts---and whatever physical sensations may register in the viewer’s body.  Color, timbre and texture often provide focus.  Moreover, from such a critique of and choreography within the site, certain results of the installation process often lead to autonomous objects that when displayed elsewhere refer to the original place as much as they develop new significance within the newly re-presented context.  This displacement between presentation and re-presentation is toward the concern of perception as a function of perspective in terms of position and duration.