I paint fictional landscapes. I strive to create a luscious otherworld where the imagined is always entangled with the observed. In my paintings the world is transformed into a place that is a little more mysterious and evocative than a naturalistic landscape as it is meant to celebrate the oddness within it.
The series Liminal Landscapes, engages in a contemporary dialogue with technology and landscape. I am interested in how human beings "idealize" what nature is and then use this as a basis to create artificial environments for ourselves to exist within. At times, these fabricated environments can devolve into chaos. It is no longer just an issue of domesticating the land to make it livable; we have reached a point where we are constantly transforming our world into a suburban theme park. Through the combination of synthetic colors and naturalistic landscape, I seek to capture the unnatural oddities of spaces such as swimming pools, miniature golf courses and the medians used to decorate highways.
In other works in this series, I examine how we as a contemporary society view landscape- whether it be through a computer screen, camera, or a windowpane as we are moving past it- we seem to always have an obstructed view. These devices flatten our landscapes and even our experience and memory of a place. In these paintings distance becomes a form of abstraction. By working with an aerial perspective it allows me to explore a less traditional approach to landscape and forces a technologized view -- or a minimalist approach -- putting the subject in stark relief. As I continue to work with this subject I strive to maintain a consistent vein between man-made objects, otherworldly colors, and a disorienting portrayal of how humans have managed to make the natural more sublime, in our quest to invent an artificial oasis.
In order to create a dialogue between painterly languages I use and the objects I portray, I rely upon classical landscape motifs to offer the viewer some known familiar context. Often then, geometric elements present themselves as evidence of civilizations intervention and demonstrate the inherent difference between the fabricated and the organic. Through a collision of styles ranging from flat modernist geometric structures and romantic painterly gesture, I want to question this unusual world we have created for ourselves, where the disparate images of nature and the man-made co-exist.
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