As an artist exploring issues of identity, memory and the passage of time, I have chosen to paint through a lens from The Hudson River School of Landscape Painting. Rather than depicting a site-specific locale, I intend to evoke a sense of place inherent within the painting process. These 'inner landscapes' are invented and often referenced from photographs taken during travels. Whether real or imagined, they are infused with the influence of Dutch Master, Tonalist, and Chinese Painting.

Although produced on a single wooden panel, my ethereal landscapes are often joined with segments of aqueous color fields which act as commentary for the landscapes, like the chorus in a Greek play. The crisp, hard edges separating the landscapes from the color fields command a sense of order in an otherwise fluid and painterly surface. With two or three sections of the panel competing for attention, the painting creates multiple focal points.

While each painting may have individual meanings, the overall body of work focuses on notions of memory, identity and the passage of time. The artistic process used to explore these subjects is reflected through the application of paint onto panel. Just as memories emerge in and out of our subconsciousness, contorting into surreality, I paint intuitively, pouring washes over previous layers, leaving traces from an earlier generation peering through a gauze-like screen of paint. One is confronted by these layers, articulating through painterly abstraction that makes no other reference to an existing place other than an inherent emotional position inside the psyche.

The paintings are meant to explore levels of meaning as they connect our personal experiences to a world severely distanced from ourselves. My interest lies in understanding what is at the core of human nature- desire, curiosity, love, and hope. It narrates a personal archeology of the id while simultaneously relating to other people what is timelessly universal.