My landscape paintings use light and shadow as physical subjects, considering outdoor spaces—often parks and roadsides—close to me. I use plaster to build texture beneath the paint, embedding landscape ephemera while referencing the complex information systems that exist in nature.

I am interested in how the paintings both imitate the experience of landscape and become their own layer of experience, materializing traces of natural encounters into solid form. As my brush responds to the surface topography and landscape imagery, the works accumulate a mix of location-based information and personal self-invention. As I continue working, I imbue emotive qualities into the work, creating layers of romanticism, anxiety, dread, and wonder with an uncertainty of the work’s stability despite its physical weight. How real is this space? Where does it rupture?

Color contributes to this process; I use fluorescent and metallic paints to create visceral ashes against deep, chromatic passages. Built up over time, these works translate my outdoor walks and runs into tactile fragments of my overall experience.