Photography is my framework. Preparing and looking at the large pieces of glass that I had made to install in the penitentiary greenhouse, I could not help but also want to see “paper”, with its’ reversal of tone, returning the original subject to a more representative version against a light ground, and to see what these plates might do with my paper. So I used them as glass plate negatives, before installation, to make gold-toned, contact prints (images of both the photogram glass plates, not installed, and prints from those plates are included here). This also became a way for the images to outlive the installation. The element of time is dramatically at play with the plates in the greenhouse windows. My glass house is scheduled to be de-installed during the 2009/2010 winter. I am surprised that emulsion on glass, exposed to the elements, twenty-four hours a day for four years, has survived as well as it has. When those plates come out of the windows and return to the studio, I will make some new prints with what’s left.