Much of my work explores Romantic ideas of nature, from a standpoint that is equally reverent and critical. I have made numerous pieces depicting contemporary American landscapes where the sprawl of development becomes a new habitat for wild animals. Others explore the picturesque, the idea of a container for beauty. These pieces combine historical palettes and techniques, retrievals from Colonial art, with an experimental exploration of forms and materials. They are characterized by a testing of formats, perspectives, framing devices, narrative expectations, as well as the mixture of new and historical techniques and materials.

Some of my work responds to the tradition of Western animal painting. On large panels, the life-size forms of deer and elk emerge into sculptural solidity out of atmospheric transparency. Instead of offering the viewer a commanding vista inhabited by potential game, these pieces set up a confrontation with an apparently sentient being. Approaching the viewer or engaged in battle, frozen in a lock of antlers, the animals look back while being looked at. Images of wild nature, they strangely appear to be in complicity with the viewer.

Turning to landscapes of glaciers and icebergs, my most recent paintings depict multifaceted crystalline formations on panels and three-dimensional cubes. Each composition is built through the incremental accumulation of small geometric shapes of transparent color, which add up to spatial trajectories and recessions, opening up windows into the white gesso. For me, the incremental and unpredictable process of constructing these compositions becomes a metaphor for organically growing forms in nature, where erratic, unprecedented forms emerge from finite and predictable elements.