Detail of wall installation.

One clue that there’s something not quite real about sequential time the way you experience it is the various paradoxes of time
supposedly passing and of a so called present that is always unrolling into the future and creating more and more past behind it. As if
the present were this car ’nice car by the way’ and the past is the road we have just gone over, and the future is the headlit road up
ahead we have not yet gotten to, and time is the car’s forward movement, and the precise present is the car’s front bumper as it cuts
through the fog of the future, so that it is now and then a tiny bit later a whole different now, etc. Except if time is really passing, how
fast does it go? At what rate does the present change? See? Meaning if we use time to measure motion or rate - which we do, it is the
only way we can - 95 miles per hour, 70 heartbeats a second, etc. - how are you supposed to measure the rate at which time moves?
One second per second? It makes no sense. You can’t even talk about time flowing or moving, without hitting up against paradox right
away. So think for a second: What if there is really no movement at all? What if this is all unfolding in the one flash you call the present,
this first, infinitely tiny split-second of impact when the speeding car’s front bumper’s just starting to touch the abutment, just before
the bumper crumples and displaces the front end and you go violently forward and the steering column comes back at your chest as if
shot out of something enormous? Meaning that what if in fact this now is infinite and never really passes in the way your mind is
supposedly wired to understand pass, so that not only your life but every single humanly conceivable way to describe and account for
that life has time to flash like neon shaped into those connected cursive letters that businesses’ signs and windows love so much to
use through your mind all at once in the literally immeasurable instant between impact and death, just as you start forward to meet the
wheel at a rate no belt ever made could restrain - the end.

excerpt from "Good Old Neon," D.F.W.

Pictures of the installation.

Pictures of the collages.

Article in The Boston Globe about the exhibition and the installation.

Wall installation includes newspaper, collages on panel with ink and gold leaf and enamel, ink on paper, and watercolor on newsprint

Wall dimension is 12 ft by 30 ft.