The experience of getting lost in the surrounding landscape is important to the mental and physical process of my paintings. Both practices allow for the discovery of forms, textures and spacial relationships, and the awareness of my ability to trust the unfolding process. By letting the terrain guide me, I can remain open to new perceptions. This way of relating to the world is reflected in my studio practice.
Considering themes of environment, time and physical presence, my studio practice focuses on ways to connect my personal experience with the conversation of landscape painting. I strive to depict my attachment and curiosity for spaces, moments, and unexpected narratives in the natural world. Imagery in my work references gnarled trees, winding trails, and topography from the woodlands near my home. I experiment with motifs of portals, framing and divisions of the picture plane to express time, interruption, and to bridge the gap between myself and the natural world.
My process of creating is intuitive, combining various modes of mark making which accumulate as a history built up on the surface. My surfaces become sites of collision between observed moments of the natural world and my attempts to connect with those moments through intuitive acts of drawing, pouring, scraping and sanding. The narrative of each painting is discovered through the process of exploration. I look to orchestrate this imagery to feel pleasantly at odds with itself. The technique of collaging adds to this effect by creating a disruption of imagery and collision of different voices within the frame. Working with a variety of materials keeps me testing new relationships between color, texture, ground and space. By uncovering new materials and methods that yield surprise, I am able to let go of my instinct to control the outcome. I see painting as having no required beginning, middle or end, but rather a framework which allows for decisions to be added or subtracted at any point in time. Abstraction strips elements down to their essentials. This gradual deconstruction of forms allows me to savor moments in time and hopefully invites the viewer to slowly journey through the work.