I have recently moved my process into the studio to produce larger and more contemplated works, with the sky-scape becoming increasingly predominant to the almost subservient land in my paintings.  I continue to be interested in exploring the dichotomy between the social constructs of painting and humanity’s understanding of nature.  The importance of thick, impasto paint in the manifestation of the energetic mark has endured.  Increasingly, as I experiment with a tension between realism and abstraction, I have abandoned the conventional horizontal landscape format in favor of the iconic square, with even the distinct horizon-line fading, as I attempt to create paintings with greater atmospheric ambiguity, and about the intrinsic impermanence of nature and the sublime.

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