Bright colors vibrate against each other, shocking the eye at first. Then the composition reveals that the paintings are almost symmetrical, like a body the legs and arms balance on each side with unique surprises in the middle. Using the number fourteen to build ideas, it is impossible to make a completely symmetrical painting. An asymmetrical area in the center of the composition suggests the beginning of a new idea. The compositions are fourteen, four and five eighth inch bars across that change color at different vertical heights. By limiting the process to seven colors, fourteen bars across, and pursuing all possibilities, plentiful creative ideas come to fruition. New composition possibilities continue to present themselves with time and experience in this format.

Based in the flattest of flat modernist philosophy, the canvas is stretched directly to the wall from the floor to the ceiling, installed as two dimensional as possible. When canvases are hung together as an instillation, each painting is separated by white areas of canvas to be seen as an individual among the other compositions with the same basic structure. Additionally, Each bar of color stops an eighth of an inch before the next color for separation. Separation of colors helps the eye to comprehend the color, space provides accessibility. Much like in music the space or rests between the notes are crucial to the understanding on the notes themselves.

In an installation setting the paintings have a dialog with each other creating a contemplative environment. Some ideas relate and some are completely different from the next. Distance from the work is crucial to the viewing of installations.