My practice is rooted in the act of exploration—moving through the vast, glacially carved landscapes of the Eastern Sierra and the Dolomites, where geologic time manifests in stratified rock and shifting light. These environments, experienced through physical engagement, become the foundation for abstracted landscapes that exist at the intersection of memory, movement, and materiality. The work resists the static consumption of the photographic image, instead privileging the embodied experience of place—where sensory impressions, the act of walking, and the durational nature of presence coalesce into painterly form.

In contrast to the Hudson River School’s meticulously rendered landscapes, which sought to evoke the sublime through grandiosity and realism, contemporary visual culture is inundated with hyper-mediated representations of nature—scrolling through hundreds of images in a minute erodes the ability to truly be in the landscape. My work challenges this detachment, engaging with the slowness of geological transformation as an antidote to the immediacy of digital consumption. Each painting negotiates between representation and abstraction, layering form and gesture to convey not just an image of a place, but the sensation of moving through it.

By embracing both the structured and the gestural, the defined and the ephemeral, my paintings map a subjective cartography—where color, texture, and compositional rhythm enact the dynamics of exploration. The viewer is invited to navigate these spaces, to experience the interplay of perception and materiality, and to reconnect with a landscape that is not simply seen, but felt.