STATEMENT

I make paintings, works on paper, and public art projects charting experiences of place. My work combines digital mark-making tools with analog methods including stencils, printing, airbrush, painting, and drawing. Delicate lines, bursts of color, and shadow-like forms layer and combine to describe the complexity of moving through a modern world. The work ranges in scale from handheld drawings to public-scale paintings in urban contexts.

I begin most works with a ground of intricate lines created by etching the surfaces of paper or wooden panels with networks of lines. Originally, the line drawings resulted from digital tracings of my abstract landscape drawings. Recently, I have expanded the line work to include references to natural forces like wind and water, or the movement of people across time and space, through migration or travel. Later, I layer the linear ground with swaths of airbrushed color, geometric forms, and stenciled patterns, all drawn from observations of the natural world and built environment. These motifs emerge from my own observations of place, “collected” in my sketchbooks and camera, often while walking. When designing a public project or permanent installation, I work in much the same way: layering lines with color and form in multi-layered compositions that hover between transparent and opaque. Public works, printed on glass or affixed to windows, locate viewers directly within this shifting landscape.

My work emerges from the storied history of landscape painting, traveling with it into an expanded field and worrying the boundaries between digital and hand. In all my work, multiple layers and shifting perspectives spark an expansion of worldview, inviting viewers to consider their place within the past, present, and future of the landscape and heightening one’s sense of orientation, impact, and connection. 

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