For this series, I started with photographs (shot from archival images on site) of several world fairs and large-scale commercial expositions, in particular the 1893 World Columbian Exposition in Chicago. I scanned the negatives and then digitally modified the images and printed them as specular doubles – one over the other. The more ghost image-like image is printed right read and the actual photo image is upside down. I then superimposed onto these images a series of transparent and colored mark-making layers, adding and inventing fragments deriving from comic book images and of biomorphic and surrealist descent. The sense of this fusion was to create an analogy of the kind of reverie and daydream space that accompanies psychoanalytic free association. This type of investigation interests me in how it operates (and operated historically) bracketed by physical desire and within the constraints of the libidinal impulses animating it. Each of these sets of superimposed images and marks references both specific personal experiences as well as the historical line and color work of early modern American artists, in particular the work of Arshile Gorky, the early surrealist watercolors of Mark Rothko, the work of John Altoon and the sculptural forms of Theodore Roszak.