STATEMENT

My work explores vivid qualities of the natural world: subtle gradations of the sky, crystalline rock formations, and the movement of water currents. The direct experience of viewing a landscape is itself a form of abstraction. Once narrative and symbolic meaning are stripped away, it becomes a visual field of overlapping shapes, branching patterns, chromatic intensity, and moments of contrasting value.

Painting in reverse on glass, I build from front to back: the first marks sit closest to the viewer, and every subsequent layer is read through the ones before it. Translucent passages let light pass and mix color optically while opaque passages add definition and contours as light diffuses through the pigment. Within these works forms emerge that I leave to the interpretation of the observer. Viewers have identified geological strata, microscopic imagery, and atmospheric perspective as recurring visual touchstones.

A finished painting appears as though its made by a geological process rather than an artist's hand. The paint behaves as tributaries branching under pressure or sediment settling out of suspension. Composition and a restrained palette act as the fixed conditions within which these events unfold, the way gravity, temperature, and chemistry set the terms for a landscape's formation.