Individually, these portraits are studies in both process and narration: paint is layered over previous working sketches and random notes on sheetrock substrates. I fabricate these fragmented painting surfaces from salvaged sheetrock, which, in some cases, is actually cut from the walls of my studio. As alternating coats of thin paint and drawing are repeated, a palimpsestic image emerges, simultaneously suggesting elapsed time and movement. Combined with adjoining elements and accompanying text, these pieces become integral components of an on-going installation I call a Still Play. My current body of work centers around the Still Play: a documentary that is part installation, part theater production, where, in place of thespians, objects, and a stage, it instead features painted characters, props, and set. Likewise, the action taking place is rendered to imply movement, rather than actually performed. These static-theater productions have grown out of my present living and working environments in both the Fisch Haus, located in Wichita, and in Montréal, where I live part of the year. I design and build these studios myself, and then record the resultant spaces and the people and events that animate them.