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I’ve been exploring infinity and opposites pictorially for some time through the use of and my fascination for perspective drawing. Some years ago I found that perspective, as represented in MC Escher’s graphic works, offered a fifth dimensional relationship with space that allowed for a near universal reflection of infinity. Near, but not quite, because Escher’s multiple reflective perspectives converged at fixed graphically specified points from which space emanated outward or gathered inward. Yet, fixed perceptual origins of infinity don’t qualify as being truly universal. The universe does not originate from one point, but rather from all points, from everywhere. True infinity must be whole, total in its universal embrace, as must truth. My graphic designs place infinity perceptually nowhere but yet everywhere. They offer viewing alternatives that allow for the universal observation of a work. Top or bottom, left or right of a painting is done away with. Even in the apparently intended symmetry of the multi-paneled works, for example, that symmetry can be “broken” without disrupting the work’s “balance”, thus allowing for free will in its arrangement. In short, the work can be contemplated in a myriad of positions allowing for virtually a new painting, as it were, to be seen by simply moving the panels and reassembling them in whatever fashion pleases the viewer.