By liberating the painted surface from the 'pull' of the wall a number of things are achieved: The viewer is denied the ability to see the object in it's entirety from one position, so he/she is forced into a less passive and more physical, dynamic interaction with the object; the painting occupies the same physical space as the viewer, so the temptation to read the painted surface metaphorically, as a 'window into another reality' is denied; and the painted surface achieves a sculptural reality yet, through the lightness of it's connection with the wall hovers somewhere between painted surface and painted sculpture.