For several years I have been collecting discarded wood from several woodworkers in my studio building. I love them for their weathering and geometries. I like not knowing about their origin or previous purpose: seeing them solely as structural elements for 3 dimensional painting.
Wood aligns with my affinity for using natural materials. They are still highly processed paintings involving sanding, ink staining, pigment painting, oxidizing, paper mounting, gluing, and drilling . I consider these as 3D extensions of my Terrain study series. They are always being made, in various stages, alongside my larger, more time consuming paintings. Like the Edo papers, I aim to not overwork them, in order to deeply honor each contributing element.