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. Yosemite is known for Half Dome as much as its summertime traffic jams; the Grand Canyon now hosts a glass floor pavilion; and more than two dozen national monuments are currently under review to see if they may be better used for logging and mining. 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".
My practice is a meditation on the history of America’s wild lands and the structures, both organic and manmade, found within them. I primarily work on large canvases with saturated color palettes 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. Rooted in abstraction, my work is a gentle nod to minimalism by breaking landscapes down to their simplest forms.