Landscape
Artist Statement for Verge
The concept landscape--a particularly compelling or pleasing view--was always a constructed one. From rustic pastoral scenes to modernist conceptual experiments, artists have attempted to capture some sense of the sublime. Of course, this is an impossibility. That doesn’t mean it’s not fun trying.
The titles for my paintings are taken from climate change literature. The particular words were chosen for their potential for double meaning. I intend in my work to refer to the macrocosm of the natural crisis in the exterior even as I allow for metaphoric reference to microcosmic personal interior experience.
For more than a decade I have been in conversation with the long tradition of landscape painting, particularly that in the Americas. Typically, as part of my approach, I appropriated landscape imagery from photography, found in publication, and digitally manipulated. I continue to do so, enlarging these images emphasizing the dot-matrix. However, I have become increasingly impatient with my process as I watch the world crumble. I use painting to come to terms with reality and attempt to capture a sense of the sublime.
My landscapes are constructed.
