My work deals with the relationships between the idea of a place, color, and implied narrative. The landscapes I paint evoke memories and feelings of an actual location through the combination of these elements, but the places remain unidentified and details are altered. I’m interested in how far removed a viewer can be from the physical site but still be able to grasp the integral essence of the place. My paintings are typically inspired by personal photographs and memories, and are never completed on site.
Recently my work takes this process of removal even farther. A current series is inspired by the dioramas at a museum, with the actual terrain being filtered through five layers of process. Only then is the viewer asked to connect with the location on an emotional rather than a tangible, physical level. What is lost and what is gained?
My work deals with the relationships between the idea of a space, color and narrative. Through landscape paintings, I emphasize a feeling of isolation caused by the combination of these elements. The transitory presence of humans in any particular setting causes an innate feeling of exclusion, transforming any landscape into more of a psychological space rather than a mere habitat.
Roads that stretch into a vastness, inaccessible buildings lacking windows and doors, and unidentifiable persons exist in my spaces, isolating the viewer. Detail distinctions are blurred and forms are simplified into almost sculptural shapes. By painting the same landscape repeatedly in either oil or gouache, with slight alterations to color and composition, I eventually paint the idea of a space unfettered to a precise location or time. Isolated shapes of color push the landscape towards abstraction
This lack of specificity transports the viewer into a space and narrative they must in part imagine themselves, reiterating the persistent theme of isolation by making the viewing of the space an individual action rather than a shared experience.