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I employ repetitive marks to create microcosmic views from an aerial perspective. My interest in land use and the intersection of public and private space leads me to utilize maps and surveys as reference points for a process that utilizes aspects of history and memory.
My paintings evolve slowly, built up in layers. Employing hand movements learned in Chinese painting studies, I use a labor intensive process, almost as a scribe copies language. The act of painting takes on a meditative quality. Subsequent layers become tracings of the original, recording the passage of time. These marks alter, erase, blur boundaries, rewrite history.
The ephemerality of the work references the fragility of memory and recollections of history. I intentionally set up oppositions: absence and presence, passageways and impediments, public and private, literal and abstract. These dualities emerge from the modification of initial marks to juxtapose subtle nuances with bold contrasts.