Years spent camping and hiking in the wilderness across the United States has led me to consider landscapes in new ways, particularly land management, park infrastructure, and the ways in which humans have curated public land to fit their needs. The National Parks are heralded as “America’s Best Idea,” and while they do a magnificent job of protecting land that would have been developed otherwise, they are a choice example of human impact upon nature. Yosemite is known for Half Dome as much as its summertime traffic jams; the Grand Canyon now hosts a glass floor pavilion; a backpacking trail in Picture Rocks leads for miles through parking lots and roadside turn outs before returning to its forest floor roots. I am intrigued by what areas are slotted for development, what land is seen as a landmark, and what is given the gift of being labeled "wilderness". America’s parks are as much about preserving nature as they are about drawing boundaries—physically, politically, and socially.


My practice is a meditation on my own personal experiences with America’s wild lands and the structures, both organic and manmade, found within them. I primarily work on large canvases with fluid layers of semi transparent paint that allow the viewer to sink into the composition. The physical process of making a painting is very important to me: there is always evidence of the hand at work; lines are precise in theory, but not in execution; asymmetry is a natural result of freehanded shapes. Visually, my paintings are a conglomeration of specific locations and the histories found in those spaces. Rooted in abstraction, my work is a gentle nod to minimalism by breaking landscapes down to their simplest forms. Employing specific, saturated color palettes and abstractions based on the landscapes of America's parks, I strive to paint images that evoke the visceral beauty of these lands, while also addressing the boundaries humans have drawn upon them.