I had this intense calling of erupting the shapes from the picture plane and transforming the two-dimensional surface into a three-dimensional one. A search for a "not a painting, not a sculpture," as Ferreria Gullar would call it back in 1959, describing the work of the neo-concrete movement in Brazil, particularly that of Lygia Clark. He called it the Non-Object; this is what Layers meant for me—as well as the transition of my work between painting to sculpture. I called them my Relief Objects. This series was also about enacting the process of layering that happens to the surface of a painting and transforming it into an object. I enjoy this process, and I wanted to replicate this in a thing—a new way to convey transparency, depth, and movement. 

At the same time, I was thinking about the different layers we add as time passes by and we face our own life. We add them up as a painting gathers paint.