I make paintings of the “drawings” and “paintings” that exist all around us in the quotidian world, outside gallery walls. All my work is about connecting visuality with the experience of urban movement. Some paintings describe the view from the road, including the formal specificity of trees, shrubs, and water. I paint each graphic element from a projected photograph, taking liberties with color, mark, and composition to develop a sense of place that is at once literal and otherworldly. The color— fluorescent red, pale blue, pale green, and silver—is chosen for its optical effects, like simultaneous contrast and retinal fatigue, which produce the illusion of depth.

Other works that appear to be examples of pure abstraction are, in fact, precise tracings of landscape phenomena such as tar patches on an asphalt highway photographed through the windshield of a moving car. These too are the result of noticing the marks and traces that compose the world.