I paint the air around a thing more than the thing itself.

 

My art dances on the knife’s edge between representationalism and abstraction. I let the painting lead me—it decides which side of the knife’s blade it falls. Surface, layering, and the physical processes I use vary from painting to painting because I am always experimenting with tools, materials, and techniques.

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Drawn mostly to landscapes, my interest in conservation pushes me toward making landscapes that I want to escape into—but they do not exist. Inspired by observations and plein air studies, I want these made-up spaces to possess a fragility that humans wish to enter but fear that they might break or destroy what is there.

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American Tonalism informs my atmospheres, my spatial planes and color fields are from Mark Rothko, my unique perspectives of overlapping woodlands and skies by Brian Rutenberg, my color by Wolf Kahn, and the simplicity of the constructed space comes from Maurice Shapiro, to name a few.​