This work from late summer into early fall 2013, shifts between the painterly poles of establishing pictorial space versus the "paint- as- paint" grit of the actual surface.
The silhouetted forms at once both assign and deny a certain spatial depth.
Now, late-fall, a "surround" or framing
device has developed that establishes another level to the fore-mid-background distances. It's a sort of fore-foreground.
the framing device, but is apparent in the imagery itself--how much (or how little) information is needed?
(And I guess the idea of working with silhouetted forms is yet another form of editing/decision -making.)