Most of these works were done in the 1990s around the start of my career. They were exploratory studies on the interrelationship of authorship, aesthetics, style, and value in art. As with my work on modern art and architecture, I was interested in the means of expression itself as a bearer of meaning in the work. For this reason, I was playing with a number of conceptual art strategies such as the chart, the series, and the multiple. My first work, Enfeuillage, refers, in its form, to my formation in Vancouver and the influence of its photoconceptual scene. I’ve revisited the “photographic demonstration” format of that piece a number of times, most recently in Sculpture Portraits. 1971 documents a moment of entropy in conceptual art when the movement started to drift from radical dematerialization toward commodification. This early study mirrors my research on the immediate post-war period when the modern movement was repurposed as corporate “modernism”. This untethering from a movement’s founding ideals, whether conceptualism or modernism, has been a subject of study throughout my career.