A painting begins with a connection to light and place. Some are quick studies, others require laborious revision, but ultimately it’s a love affair between the medium—oil paint and cold wax—plus land, water, and the horizon.
I found that I enjoyed the kite form; it was like painting, but without the inherent solemnity of stretched canvas. They could be fun and spontaneous and I began experimenting with their construction.
I befriended and photographed people who are working towards a positive environmental future despite the enormity of the task. Human Nature is a series of interconnected stories about our reliance on the natural world and the science that fosters our relationship to it.
I find both literal and metaphorical inspiration in a place as simple as my backyard. We might construct fences to demarcate our private spaces, but are all connected by the ground beneath.
The lines have a connected relationship with one another and represent the structures of community and the parallels between people—the bonds we have between friends and family and the emotional dimensions that come with them.
I only truly know what it is like to be in my own shoes, but sometimes I find it most important to not only imagine this world through a human’s eyes, but also through the eyes of an entity much smaller.
The students hauled up the deepest trap yet to be set; it was over 1,500 meters deep. With shrieks of fear they discovered what lives at the deepest of depths. What lives at the deepest of depths, you ask, dear reader? I shall tell you.
Costa Rica is green: the tropical plants, the camouflaged bugs, the overgrown thrushes, the reflections of ribbed leaves on the wet pavement in the rainy season. I chose to shoot black-and-white with the intention to reveal the tonality in the greens and to portray the diffused light casting shadows in the canopy of the forest.
These paintings are records of various insults against our rivers in folly and/or purposeful assault. The rooms below the surface/the skin of the bodies of water were recorded: deep rooms where things are locked away, out of sight from the surface.
I like to use art to express patterns and forces in the invisible and sensory world: the natural movement of water in watercolors to form earth strata, mixed media to create the mood of a birch grove, the use of form and earthen colors to explore land and dirt.