I utilize the genre of landscape painting to investigate the problematic psychological relationship between humans and the natural world while simultaneously suggesting an interconnected fate. My paintings warn of untold changes, exploring the imaginary and near-real, while envisioning a lessened human footprint and nature as an ultimately powerful and enduring presence.
From Oceanic Global interview:
Do your abstract paintings and drawings belong to the same universe as your ocean-centric sculptures?
I view the paintings as an antidote to the plastic work, but still wholly part of the Drifters Project. They are visualizations of vast forces of collision between natural processes (such as chemical patination of copper) and industrial human-made products (like plastics, acrylics, resin, and oils) that are happening around the world, all shrunken to the manageable scale of a painting space. Through these works, I’m able to control the outcome and nature always comes out on top: the sun will come out, rainbows will form, and there will be another day. This practice helps me manage my emotionally and physically difficult work with plastic.
Ongoing series of works on paper incorporating defunct and devalued global currency, 2006-present