Graham Collins uses material approaches and substrates (ceramic, cut and quilted paintings, above ground pools) to broadly reflect on the traps, tributaries and conventions of painting as a primary vehicle for western philosophy. Ever-challenging the ease of viewing an artwork, Collins’ utilizes obfuscation and the viewer’s body movement as tool to experience his work. This movement of the viewer supports Collins’ conjecture that the object itself is secondary to the primary function of viewing the work in space.  Thus, his paintings share the temporal space usually reserved to dance.