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In my most recent body of work, I continue to construct my paintings with an engineer’s sensibility and rigor, but the architectural structures come from the world of leisure and recreation—and of memory. The structures and patterns seem borrowed from an earlier generation, evoking nostalgia and yet also inspired by autobiography. My paintings collapse both geography and time. What at first appears to be an intricate painting reveals itself, upon close examination, to be finely cut slivers of paper on wood veneer, hand painted and then laboriously collaged together to create fields of grass, multifaceted rocky cliffs or lush botanical growth. The architectural structures are often incised directly onto wood panels and inserted into these wild landscapes.
My process begins with documentation: I photograph locations newly traveled, as well as well-known and loved. These photographs are digitally stitched together, combining landscapes with structures from various “memories.” I collage photographs the way we experience memories: we confuse the place and time, the structures bleed together, places patched together in our minds. Like concretized memories, my photographs give physical shape to the improbable landscapes of our memory.