Artist Statement

The driving concept of my work is the combination of multiple perspectival views of landscapes and the simplification of representation of nature, through gestural lines that I derive from the places I’ve traveled to, such as Nevada, Utah, Montana, and Paris, France. More recently, my work has adapted to resemble the Oregon landscape, where I now live. 

A question that occurred to me while looking out of a plane window on a long flight was: “how does time exist for flight attendants?” I thought about how flight attendants might create and operate with a different sense of time in order to organize the everyday. In considering this question, I thought perhaps time is more subjective than I realized, being measured by whatever we choose, or that it may be experienced in different ways at once. When viewing the natural landscape from above, one can see the lines that mark the landscape, defined by people’s movements, imposed on the earth’s surface. These marks (although at times incredibly harsh) are an explicit representation of our time in the world; millions of steps traversed on the ground transforming into simple lines and intricate patterns. 

In my paintings, I pair different perspectives and atmospheres. By collapsing perspective and simplifying natural forms, the paintings point to an altered, imaginary world – one with multiple times zones and geographies occurring at once.

When viewing my work one can draw elements of the natural world redefined by fluid brushstrokes and tendril-like patterns. The color palette and line quality recur in different ways and this interplay between these different colors and brushstrokes is something that I have been investigating as a way to rethink perspective, vantage point, scale, dimensionality, and ideas of place.