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About The Work
My interest in landscape stems from a fascination with the natural world and how various landscapes are formed. I love creating on a small scale these massive natural events, employing a variety of techniques in such ways reminiscent of how they are naturally created.
Working on Yupo, a slick, synthetic substrate, allows me to create in this way. Using heat and cold, air pressure, wind and air shifts, changes in pigment-to-water ratios, dropping, spilling, layering, dragging, scraping, scratching, and brushing, I build up landscapes similar to those shaped by natural processes. These images appear fairly flat, but because of the accreted layers, all entwined and interacting on microscopic layers in several different ways, they have a feeling of three-dimensionality that is not purely a trick of light and dark, cool and warm paints.
Although I enjoy planetary and moon landscapes very much, all of which have their own history of natural occurrences from methane lakes to meteor strikes, I am beginning to make the shift back to Earth. When I am not gazing at our galaxy, often through the lens of NASA, I am focusing more on how natural forces interact and change our known landscapes. Climate change has been a profound influence on my recent work, since it has a huge impact on me, and on the entire world. Because the issues wrought by climate change are so prevalent, I am focusing on depicting and bringing an artistic awareness to these changes.
My depictions often arise out of a combination of my own artistic license, and photos, places I've been, places I've imagined while reading or listening to music, or dreams I've had. Sometimes the influence is there, but is so obscure and minimal that at the end of the day the influence just becomes like background music that plays while I’m working.
About The Work
My interest in landscape stems from a fascination with the natural world and how various landscapes are formed. I love creating on a small scale these massive natural events, employing a variety of techniques in such ways reminiscent of how they are naturally created.
Working on Yupo, a slick, synthetic substrate, allows me to create in this way. Using heat and cold, air pressure, wind and air shifts, changes in pigment-to-water ratios, dropping, spilling, layering, dragging, scraping, scratching, and brushing, I build up landscapes similar to those shaped by natural processes. These images appear fairly flat, but because of the accreted layers, all entwined and interacting on microscopic layers in several different ways, they have a feeling of three-dimensionality that is not purely a trick of light and dark, cool and warm paints.
Although I enjoy planetary and moon landscapes very much, all of which have their own history of natural occurrences from methane lakes to meteor strikes, I am beginning to make the shift back to Earth. When I am not gazing at our galaxy, often through the lens of NASA, I am focusing more on how natural forces interact and change our known landscapes. Climate change has been a profound influence on my recent work, since it has a huge impact on me, and on the entire world. Because the issues wrought by climate change are so prevalent, I am focusing on depicting and bringing an artistic awareness to these changes.
My depictions often arise out of a combination of my own artistic license, and photos, places I've been, places I've imagined while reading or listening to music, or dreams I've had. Sometimes the influence is there, but is so obscure and minimal that at the end of the day the influence just becomes like background music that plays while I’m working.
