This work began as shapes cut in quick succession from roofing felt. I was struck by the graphic compositions which formed almost without effort as I tacked the shapes to my studio walls. For me, they seemed to possess an enigmatic story-like quality–as if they were pictographs or hieroglyphs whose meanings were obscure, but compelling nevertheless. Jambalaya was initially installed in the foyer, adjacent to my Regardless installation at the Holter Museum of Art. Its fluid composition responds to that space, as well as to the unique architecture of the foyer, and is one of many possible arrangements of the shapes.