My work considers painting as a physical and material site for the mediation of environmental space and experience. The surfaces of the paintings often appear worn and weathered, implying a history of physical change. Stained, sewn, and often not straight, the canvases stretch and sometimes hang without supports, enacting an imperfect or slanted relationship to the modernist use of the Cartesian grid and the idealized horizon line of landscape painting’s history.

My praxis dispels singularity and a fixed illusionistic image, embraces failure, and sometimes relinquishes control of the paint itself. The approach for each painting often demands a different set of materials or processes. Dyeing enters the weave of the canvas as rust lodges in a riverbed. Bleaching reverses the dye, but it does so imperfectly. Stains are a collaboration with gravity and osmosis. Some paintings are made outside on the ground. In the studio, the manipulation of that first-hand account is reworked, creating a dialectic between an awareness of the inner logic of painting and the other conditions that present themselves to me from the outside world.