As a native to Maine and to the Maine outdoors I find that the landscape here is integral to my sense of being. By creating dark, and ephemeral atmospheric paintings I seek to re-contextualize our definition of the sublime in relation to our contemporary surroundings. Primarily this body of work addresses the feeling of existing in a world whose natural landscapes have integrated with contemporary cities. This is in contrast to the work of the Hudson School Painters, who perceived the landscape of the America's to be pristine, unmodifiable in their scale, and (mostly) free of human interference.
The paintings themselves are slow, quiet, and heavy in their appearance - many are immersive in their scale, reaching widths of 4ft. Depicted within them are a series of distant shorelines, hanging beneath spacious skies, always illuminated by sources of artificial light. The horizon is detailed with nuanced instances of trees, light, and city structures, minuscule in comparison with the massive backdrops of luminous sky floating behind them.
Through sanding, and a unique gesso application process, I am able to achieve a highly controlled surface, giving each painting a unique finish. My paintings are typically coated with a series of thin, transparent glazes, giving them a deep and lustrous finish.