I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such as prairies, and mountains, upon closer inspection they could be smaller, more manageable things, such as objects on a blanket or figures on a rug. The subjects appear tactile and are ambiguous in scale.
The paintings are composed in a shallow, semi-aerial perspective and the forms within them are usually depicted in three dimensions. Each work employs an aspect of illusion, such as we see in traditional paintings. Yet, upon examination, the forms depicted seem to be composed of nothing other than paint itself, or perhaps a related material, such as modeling clay. These are abstract compositions that have risen slightly, above the two-dimensional plane, in order to refer to a multitude of things.
Although I consider these paintings to be landscapes, they are not often compiled of objects that resemble grass, or trees, or water. The ground of the painting is simply paint. It twists and transforms, becoming buildings, targets, ropes, sticks, worms, cones, clouds, bubbles, and areas of flat colour. The ground is an unreliable element caught in the act of self-transformation. There is a sense of movement in the paintings that challenges the weight and solidity of objects depicted. These are works that use the language of abstract painting to question the nature of representation.