The idea for six paintings that open came from three sources:
Firstly, the original idea to produce a painting which had elements that opened started when I saw Jan van Eyck's Ghent altarpiece, painted in 1432.
Secondly, I was doing large palette-knife paintings of the fronts of buildings and enjoying the contrast between the permanent structure and the ambiguity of the glass in the windows. Glass windows reflect the outside surroundings of the buildings but also allow you to see inside: akin to Robert Rauschenberg's “slipping glimpse”. It is a great space in which to use bright colour and abstract shapes.
Thirdly, as with our minds, buildings have an exterior public face, but hide the private, secret world inside. This aspect alone can provide the basis for voyeurism, fun, sadness and reflection