My desire to make formal landscape and the architecture in it runs back to my stained glass roots and time spent studying the masterworks of Tiffany and LaFarge. After attempting this work in the Reverse and Assembled styles, the new, smaller soft-edged Impressions works are constructed in the manner of a traditional painter, built up of consecutive layers. Reminiscent of the "full frame" school of photography, the edges of the work are untrimmed and illustrate the dissolving of image into the flow of warm glass.