With Robert Rauschenberg as an early influence, Damian Stamer merges abstraction and representation in paintings that are rich in references to the rural North Carolina landscape of his youth and to the history and craft of painting itself. Drawing from his memories and photographs of farms, woods, and fields, he explores notions of home and representation in semi-abstract landscapes. “I’m always looking for new tools and ways to spread paint,” he describes. “I’ve used masking tape, squeegees, heavy-duty paper towels, solvents, and even a frying pan to splatter paint.” In his compositions, he combines lush, gestural brushstrokes, drips, and splatters with images of wooden shacks and hay bails. For Stamer, this approach places him on a continuum with Gerhard Richter and Matthias Weischer, among the artists he admires most.