I think of these paintings as self-portrait landscapes.  Extended periods of careful observation of nature become a contemplative experience for me that evokes memories and past associations.  Mark making allows me to explore emotional qualities that reside within familiar places.  This series investigates underlying structures found in nature and my connection to the natural world.  I’m curious about tensions existing between concepts of stability and change, chaos and order, and how from this place of uncertainty new ideas emerge.  My work explores the dynamic play between a rigid structure and the fluidity of gestural mark making.  Transparent glazes of paint create a depth of surface, which reveals multiple points of view.  Underlying grid-like structures provide a framework from which these fractured images arise. This analysis and deconstruction of the image captures a glimpse of a passing moment as translucent layers of paint record the history of its making.

My view of the world is always interrupted; it seems as if I’m always looking through and around structures, never able to see the whole scene.  Repetitive lines become weavings that bring together these bits of information and help hold the world together for me.  In these paintings, I use repetitive parallel lines to reference an ever-present background sound vibration.  Lines create a hum that holds together the luscious confusion of a landscape, making the world easier to comprehend.