During these years my work addressed language and abstraction, primarily in painting, collage and installation. In these pieces I worked closely with the formal elements of shape, composition and color — all the while contemplating the intersection of modernism and language through an exploration of modernist fonts. This process brought me back to a source: modernism itself. Having been trained by modernist artists via a classic Bauhaus-inspired art school curriculum, I needed to re-visit modernist aesthetics and theory and reflect on how they had shaped me. From my vantage point now, I see that diving deeply into this reductivist approach was necessary in order to move through it. The reductivist container could no longer hold everything I wanted to explore.