My paintings use the romantic landscape as a site where the apocalyptic narratives of white supremacy, Christianity, and climate change intersect—a scenario in which most of the built environment has been obliterated and transformed into a toxic, hallucinatory wasteland. I am concerned with the historical construction of whiteness in fiction as an antagonism between notions of civility and barbarism, the built environment versus the “natural” landscape—the civic human subject in relation to the monstrous absolute Other. I position the romantic landscape as disturbed by the traces of Western imperialism and structural violence through a process that involves layering, spraying, or scraping away. For me, painting is a process of agitating a sealed-away past as a means to reconstitute itself in the present. I reference contemporary Black Lives Matter imagery, medieval Christian iconography, figures from Western mythology/history, as well as details from my own idiosyncratic life story.