Growing up in Akron, Ohio, positioned on a longtime central traffic corridor within the continental United States, I became interested in how the region’s intermediary posture influences sense of place. Like painting, place is a conduit for understanding the world both as an observed object and a way of seeing.

These paintings reference landscape and architectural or aesthetic histories, projecting notions of spatial and temporal liminality. Fluid color is stained into various absorbent grounds, forming a compressed surface without clear beginning or end. The linear infrastructure that recurs throughout the work serves as an interface or scaffold, setting up seams, subdivisions, and intersections that invite internal comparisons between quadrants. Space becomes negotiable, as the aesthetics suggest potential re-registration, folding, image rotation, looping, and other psychic shifts.

Contemporary living involves daily navigation between the real and virtual, mental and physical, and direct and removed. It is the painter’s job to search for new meaning at the thresholds of these worlds.