Growing up in rural Maine, I have been interested in atmosphere, tides and geological surfaces—both above and below the waterline— and how they relate to extreme weather patterns.
Twelve years ago, I created a series of black and white paperpulp pieces at the Dieu Donne Papermill wearing my x-country skis- a pencil to paper. They were were my first investigation in creating lines in space based on drawings I had made in the actual landscape in snow and in tidal flats .Years later, I made a series of paintings using Distemper (Hide glue and pigment). They were much like the pieces I made at Dieu Donne, only this time I worked with my left hand given a previous injury to my right hand. Most recently, my current drawings, are created with just charcoal, chalk and pencil. The pieces seem to speak to my earlier work, based on similar themes of inclement weather and the organized cacophony found in nature.
My most recent work was made in Wyoming, where I studied wind circulation and wind charts, plate tectonics, geothermal features, fossils and extreme atmosphere. The spatial and environmental complexities were vast, with evidence of a long history of geologic movement and change found both above and below ground. What was once ocean evolved over eons into an extreme landscape of mountains and basins of often bizarre geological stratas.
Weather is a consistant theme in my work, both in Wyoming and in Maine. I observed dramatic cloud formations and precipatation dependent, in part, on the rugged geological landscape. Both ocean and high prairie lands, seemingly stable and inert, are actually in continuous motion and evolution.
These ever-changing climate events, as well as geological motion parallel the continuous unknowns and upheavals I experience in both my exterior and interior worlds. My art process is one of abstracting both the subtle and the dramatic “dip-slips” and “faults” into black and white marks- shapes that suggest fluidity, as well as the rigid forces that influence the overall atmosphere.