The language of my work is overtly geometric, in a way that I identify as an ad-hoc, improvised, or human geometry. It is irregular, unmeasured, and embraces painterly incident: the messiness and fullness of the material field. Material is image is data. Articulated by folding, masking, cutting, and gluing, this geometric mode of working is flexible, migrating between scales, subjects, and spaces, natural and designed.
At one level, my work can simply be described as landscape based abstraction, defining both fields as open, impure, and porous; I am using landscape to reflect on abstraction and vice versa. I draw from my own photographs, as well as found or researched scientific imagery, as reference and collage materials. While the works are primarily paintings on canvas and paper, I also work in sequential formats including artist’s books and a current project in stop motion animation, which I am thinking of as a moving drawing. I am sensitive to conditions of display, and have made bodies of work that are designed to be hung in specific proximity and configurations, and on gallery walls painted a particular color.
My studio practice can be thought of as a tangible trail, generating products and by-products, and churning intentions through a set of persistent material concerns. The ecology of the studio, literally and metaphorically, is a central factor in my work. Physical leftovers, partly voiced ideas, and formal discoveries from one work inevitably feed the next.