“My work was mostly architectural facades, and it was mostly Washington, D.C. architecture, primarily 18th and 19th century building. But over the past couple of years, I'd started focusing on reflections in storefronts. And also I'd been going to South Beach, Miami, and was very much enamored by the quality of light there -- it was very sunny and the effect of the strong light on the pastel colors of the buildings, as well as the resultant shadows that the light created, was fascinating to me. So I combined the two types of architectural -- meaning the Victorian architecture of Washington and the Art deco architecture of South Beach. In Washington, I drive around the city and try to see what it is about a particular building that appeals to me. There's also a lot of intellectual selection about the process. In Miami, on the other hand, it's a very visceral reaction. As I said, probably because of the memory of the tropics.

"As an artist, you always have to not just think about technique, but also about how it applies in terms of life in general. It's sort of how you look at people -- they're much more than what you see. and upon meeting someone, it's the sum total of what's inside of them because of their environment, how they grew up. So it's very psychological, this reflection thing. I like how it engages me intellectually, not to mention in terms of my craftsmanship. It's very challenging. It's also very tedious with all the minute details that I have to deal with. In terms of technique, [the reflections paintings] are very time-consuming. It's actually not just two dimensions, it's three dimensions, because you look at the glass itself, as well as what's behind the glass and what's reflected on the glass. So it's all the activity around the viewer.