The process of painting a landscape is inherently one of framing. The artist controls what is included in the scene, but what is excluded often says just as much. In my work, I employ structures of spatial control, such as frames, walls, hedges, and moats, in a paradoxical mode. Although the spaces within the paintings are spare and starkly geometric in form, they do not present themselves as places that can be entered, claimed, or fully comprehended. Flat planes seem to warp and recede, and nonsensical structures create confusion between inside and outside, natural and manmade.

If nature is a reflection of us, and vice versa, then our desire to control nature is indicative of a desire for control over ourselves. However, I believe that this mirrored relationship is an active one in which each party can effect the other. My hope is that through the process of making these paintings, I can develop a vision of an alternative world that resists illusionism and Cartesian perspective and challenges the notion of human mastery over nature.