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In the early stages of my work, I, I would do multi frame pictures. And one of the early works that I did was uh the good Samaritan. It was very primitive. I, I did it on with a crayon and then scraping into the crayon. Then I

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approached it in 2002. I, I did, I decided to do a ser graph based on that early work and, and what's what I find interesting it and that, that I see it in other artists doing the same thing where they'll take an older work and they'll

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revisit it. It's like you've gone on this long journey and then you go back to look at something that you've uh that, that was close to you at an early stage and then your, all your frames of reference have changed. And so that's what I'm finding

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that I'm taking older drawings and reworking them and trying to bring them to a level that I at this stage in my life, I could um I could share with others. And the Good Samaritan, which I did in 2002 actually began in 1969 when in 68

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some of the early drawings that I did. You can see how I did the multi frame drawings. Here's the, the, the three scenes I, I would make them as simple as I could, the, the, the, the um the merchant leaving, being beaten by a bandit and

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then the good Samaritan helping him. Now that uh I, I did a crayon painting and based on that crayon painting, I did a, a silk screen. It was very simple. It was just a black and white. I did a cup. I did one set where I

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put colors underneath. But thi this was basically a black and white that I had put some uh painted some colors on. But based on this, I decided in 2002 to do an elaborate paragraph. So this was the expansion of that drawing. And I, so you see

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how the form is. There's all these elaborate uh borders and you see how the, the imagery it's, it's much simpler in black and white. It's more like a wood block. This is just something printed on a piece of my. In order to align and register, we

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print right from the press onto a sheet of my. Then we put the print that we're working on underneath and then we uh arrange our um registration. So this is like a, a transparent, it's a gray, it's like a pains gray and it's gonna go over,

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it doesn't turn the picture gray, but what it does, is it deepens the colors that are underneath it? So it's a transparent color. And then here is the, here's another um color that just emphasizes all the outlining and gives us more of, of a shape and

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here's the finished work and there's a metallic ink, a golden color printed as well. Uh The, the dimension, it, it almost looks like it's, there's no dimension or there's no perspective but things look far away and yet they're close. You can see everything. There's like a

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depth and yet it isn't, there isn't a depth, there's little figures far away. Uh wherever it was like in the black and white, you could see um they were just shapes of plants and here with the layers and layers of greens and the buildings are all,

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they're like stones. But the layering of colors creates all uh a dimensional quality. And I kept the same idea. There's night and day in the same picture in each of the frames. Like this is day and then there's stars at night in the same frame. But

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I, I thought it was a kind of a way to, to see what I had done in the past and the way um the here there's night and day at the same time and again, here's the, the day and night. So um then I added a

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lot more detail on the foilage and I added more figures. I added more figures all around and then the border becomes more elaborate. I redrew the lettering so that it would be uh real pristine and also uh readable and fanciful too. So it would fit like

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a, like an illuminated manuscript. And so I followed the very simple story and it's connected to my past, but I've brought it to a new level at after 30 years.