I create abstract landscape paintings which explore connectivity in and to our surroundings. Intuitive and mathematical, this work layers elements of chance with repetitive geometric shapes, referencing a specific star location at the time and place each piece was created. Abstract backgrounds, painted using gravity and capillary action, are layered over with precise hexagons. Thin washes of color evoke the landscapes of my childhood in Utah.

I grew up in the shadow of the Rocky mountains. At 18 years old I moved to the east coast, eventually settling in New York City. Living in this city mirrors for me the sense of smallness that I felt at the foot of those mountains. In my work hundreds of small pieces fit together to create the larger picture. Brick by brick buildings are formed, which cyclically are erected and destroyed, all the while sprawling slowly outward. A city grows. In the same way, the natural world expands. Rivers become canyons, a seed becomes a tree, a single cell become a person. Life cycles and repeats. 

Mountains form as masses of earth push up from the ground. Water flows in short and violent bursts. Minerals leach from the rock face and streak down the canyon walls as varnish, telling of the passing of thousands of years. Celestial bodies, seen by us as a pinprick of light in the night sky, show us what has happened eons ago and light years away. We tie ourselves to place by referencing objects in the sky. We triangulate. We navigate. We move together through space. 

An interest in pattern and repetition emerged early on in my work. The repetition became a meditation for me as well as a challenge of perseverance. Geometries emerged from the repetition of a simple shape as a way of finding order in the randomness. From these geometries, hierarchical rules emerged dictating how the image would take shape. I began to find a way to apply an order to the chaos in my work. I superimposed constellations onto the work and used the mapping of the stars in the constellations to form the image. Aesthetic decisions were dictated by the rules that had emerged in the world of the paintings. Where and how a line stops was dictated by what element of the drawing held more power. The power was centered on the apparent magnitude of the stars in the constellation represented, the alpha star of the constellation became the more dominant point in the work. 

Recently I have challenged myself to let go of the rules. The newer works are landscapes composed of multicolored nebulas and nebulous spaces, desert landscapes in pinks and blues, underwater interior valleys with explosions of geometric shapes. Fluid monoliths take shape, reminiscent of mountains and bodies. These are influenced, still, by the constellations but in a less rigorous way. Through the fluid and free process of mapping these landscapes I explore memory, connection and isolation, the fragility and perseverance of life in an ever expanding environment, the tension between growth and consistency, comfort and freedom, the space between you and me.