direct experiences with nature and then recalling those experiences

from a point of remove. Brushstrokes and textures mimic the feeling

of nature more than they literally describe it. It is like there are two

separate systems of logic at work in these paintings. By walking a

line between representation and abstraction, I describe the behavior

of nature as much or more than creating a visual representation of

nature.

My intention is not to depict something seen, but to create

approximations of seen things, then combine them in ways that have

overlapping meaning. I feel like this translation is a way to make

things that outwardly seem familiar, but upon further inspection

become very unfamiliar. The process is extremely improvisational

within a finite set of rules. Making this work is like trying to recall a

memory where the majority of the visual detail and narrative have

been lost or obscured, but for some reason the memory is still

there. I am trying to capture that exact compression of images and

sensations that create a world in our mind.

There is a confluence between macrocosmic and microcosmic scales

of the universe. Is the experience that we call love a manifestation of

survival instinct or is it something greater tied to the same mysterious

forces that hold the stars in place, creating the possibility of life.

Awareness of the incredible improbability of these conditions being

present for us to exist combined with the ever-increasing aid of

technology, and the clear sign of significant environmental change

planet wide, is forcing us to evolve. My work is both the goal and the

by-product of an investigation that is concerned with epistemological

questions like “How do we know what we know?” and “If there is

one universe wouldn’t it stand to reason that there are more?” I am

working with the idea that within any single unit of space there is

limitless space and time. At the end of the day, I want my work to