My recent focus on landscape responds to climate anxiety and political upheaval, holding the contradictions of beauty against a rapacious, disjointed relationship with the land. Imagery approaches abstraction while keeping traces of the natural world. Drawing from art historical references, direct observation, gestural improvisation, and a recursive dialogue with AI, my landscapes form a visual language for connection and rupture in our digitally mediated world. Water serves as both subject and metaphor. In turns transparent, reflective, life-giving, and destructive, it signifies climate precarity and the fluidity of memory, where meaning forms and dissolves.

I work with vinyl, water, and oil-based paint on tinted plaster, where color becomes a primary vector for communication and improvisation. Here, the material facts of paint meet the impulse toward pictorial depth and spatial illusion.

I photograph my paintings and feed them into AI systems, whose responses inform new work in an iterative dialogue where imagery evolves unexpectedly. Virginia Woolf's phrase from The Waves, "the drop falls; another drop forms," captures this process of creation and dissolution. The subjective boundaries of experience in Woolf's novel echo my own questions of precarious subjectivity.

Each painting completes one cycle while generating the conditions for the next: a brushstroke exists simultaneously as pigment on surface and as light refracting through a drop that, in falling, carries the form onward.