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... And within this time, I had this urge to make paintings that did not have a recognizable landscape image at all, but in them, an environment that could be felt. It would feel like a space or a context but it would not have those things that pin it to an actual scene. 


Everything began with the surface, with intentional marks that could be blown out, hidden, revealed. I started with documents on the evolution of the computer. I would print it on surfaces, sandblast them.  Then, big sweeping strokes and tiny marks with paint, wholly in the tradition of the abstract painting. 


I returned to the interior of that tradition. And also, refracted with mirrored plexiglass, some canvas, and ultimately, I would try to coalesce these ideas of dystopia and utopia that were coming out of the drawings. The fact was that we were coming out of the pandemic, to where we are right now. I had to make works that spoke to that, that NOW.

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