The work is made from a method I developed that allows the underside of the paint layer to be shown as the outward surface. The viewable surface is identical to peeling the entire paint layer off, and then flipping it over. I begin by painting on a special laminated film, noting that the first marks I make will be the topmost “foreground”, while the last marks become the most covered up “background”. It takes a lot of planning and imagination to track what the outcome will be. I scrape the paint off, wipe it away, cover it up again and pulverize brushes through the layers. I lay down a final thick layer of pigment at the end to cover up any holes and thin spots. Next I take a raw stretched linen canvas and press it down onto the film, using a roller to make a smushed mechanical bond of paint into the linen fibers. If I'm using oils, it takes over a month for the paint to dry through the linen side. Once it’s ready I carefully peel off the film. This results in a painting with a smooth glossy surface. This approach opens up a way to expose the bones of the process of painting itself- Mistakes and do-overs, erasures and repaints, scratching away the paint, smudging it off with turpentine, things that happen within the painting procedure which are usually covered up, are all visible to assess. The work then creates a dialog about the anatomy of abstract painting, by literally providing a new perspective.