My recent two-dimensional work investigates color, pattern, and the relationship between nature and
technology. My multi-layered process begins with a photographic study of pattern in nature, such as a
cloudscape, the lace-like remnants of a two hundred million-year-old fossilized sea creature, or the
unusual markings on a rare tropical insect. I manipulate these photographs digitally, integrating the
physical digital print into an acrylic painting. Finally, I scrape back, corroding or excavating both paint and
print, blurring the distinction between the technology-driven and naturally occurring painterly passages.
I am inspired by the writing of abstract painter Jonothan Lasker, who wrote that “technology has
expanded human flesh to the limit of endurance. Deep down we long to be the animals we truly are.”
“Screen fatigue” is an example of how this relates to me personally. In this body of work, I view the partial
destruction of the digital image as a metaphor for this aspect of contemporary human experience.
Now more than ever, I am fascinated with how our experience of nature is becoming increasingly less
physical. Instead, it is frequently mediated. A digital screen has been inserted between us and our
environment in countless ways. In my work, I negotiate these issues, while in my life, I am constantly in
search of a kind of wilderness — a more authentic, analog, and perhaps unpredictable experience.
I enjoy the meaningful dialog that often emerges with a patron in the process of creating a commission. I
welcome patrons to bring a personal source of inspiration from nature as a jumping off point or identify
works I have previously completed that they feel connected to as source of inspiration. Alongside the
conceptual framework that emerges from this discussion, formal concerns such as scale, color palette,
and architectural context are also important considerations.