Painting is the byproduct of a deep engagement with environment, place and the physicality and materiality of painting and paint itself.

Each surface in our surroundings embodies an often-overlooked essence of abstraction that is significant, not only in its outer-form, but also in substance. 

In recent work, I have discovered a deep relationship with terrain on a particle level. Terrain can be defined not only as a geological place, but also a psychological space. Terrain encompasses both land matter and physical space and exists in nature as well as the built environment. People create, signify and impact terrain. 

The essence of all phenomena moves me to create: not to merely replicate, but to communicate the physical and emotional alchemy that connects us with everything and each other. Lately, I am also thinking about how my work questions the environment's future, not from a political standpoint per se, but from a position of unresolved vulnerability. 

Through the procurement and manipulation of natural matter, en lieu of commercial paint, I establish a sense of personal belonging with unfamiliar territory. This dynamic informs my work and sustains a communal exchange between a collective and individual human experience. Melding material from diverse geographic, social and cultural sources is an exhilarating process. Similarly, the work aims to retain its diversity and tension, while exhibiting a harmonious existence. Technology allows us to interact often on a superficial level. Tangible, visceral substances touched by humans, and alchemically weathered and honed over time, exhibit authenticity. Exploring the formal and conceptual junctures between historic process and modernity is an ongoing project.

Gilles Deleuze and Felix Guattari argue that everything is connected on an immense abstract machine of generativeness whose pieces are the various assemblages and individuals, each of which groups together an infinity of particles entering into an infinity of interconnected, transversal relations. 

It is uncanny how environmental matter parallels the human condition: simutaneously weathered yet pristine, tense yet calm, chaotic yet orderly, filled yet voided. Abstraction or lesser defined depiction, rather than distinct imagery, allows the viewer to see and experience independently. My narrative, although interesting and often relevant, ultimately becomes the backstory. My language is open for interpretation, and more so contemplation.