It was in the act of stacking boxes in diverse locations in the world— tracing the relative relationship of photographic details of one landscape to those of another that the project took on the characteristics of mapping.

The remaining three projects: Cross Canada (1974), British Columbia Regional Land Impressions (1972), and Background / Vancouver (1972-1974) in varying degrees borrow from the discipline and language of cartography in order to organize and frame the explorations of an artist with a camera making sense of the world . . .

In 1969 when I began printing my photographs onto corrugated cardboard boxes, I wasn't— at least not at the time, consciously relating this activity to mapping.

Silkscreened box, untitled was specifically about: the repurposing of common-place, functional, industrial objects as artworks; and the positioning of personal imagery, in a random way, out into the working world as an artist's intervention. The images I chose to build the project around, depict a specific landscape/location, of the place in which I lived and worked on the Canadian west coast.