My work operates on multiple thresholds: First, a metaphoric threshold, a place that is specific to my local landscape. Second, an architectural threshold between inside and outside, looking out and seeing in. Third, a structure’s threshold between life and death—construction, decay, and destruction. Finally, an enacted physical threshold that I think about while painting, trying to paint in between foreground and background and creating and destroying structures so that they sit at a mid-point of completeness.
My most recent work examines our relationship to landscape through programs like Google’s Street View. My street view pieces use corporate images of specific places that have personal, political, or historic significance and re-contextualizes their digitized versions, imbuing them with a new meaning and sense of space.
Many of these paintings are conglomerates of street views, with added structures or destructed architecture as a way to put these places into a different time. By painting these in the shape or size of a digital image, I’m referencing film, photography, and painting’s interconnected and changing nature. I hope to reassert the value of the act of painting and address the medium’s contemporary insecurities.