As a landscape painter, I am interested in the pictorial construction and observing the informative potential of the world I see. The trees, bushes, streets, and buildings are part of the contemporary landscape that I experience each day, rich with visual and conceptual possibilities.
I begin by working from observation, en plein air. Then I move indoors and build landscapes based on what I have seen and experienced. This often leads to the cut paper pieces that I construct. While painting en plein air, I challenge my observational conclusions by reducing the forms. With the cut paper pieces, I find a similar but even clearer method of reduction with the process of layering paper that lends it’s self to another point of expression that I desire.
When I am in the studio, there are instinctive and methodical explorations that happen with the process of cut paper. While making these paper paintings I use a combination of observation, memory, and invention. The two practices, working from life and invention in the studio complement and inform each other, each approach brings unique qualities to the work and informs both.
This process helps me divest myself of limiting preconceptions by removing myself from the subject I am observing. It becomes a necessary condition for creating these paper paintings. The challenge is to translate visual information into work that speaks of its own making, as both image and object.