"Over the last 30 years, my art has evolved from exploring the narratives and symbolism of traditional Tibetan painting to my current work, derived from organic patterns and geometric shapes found when the natural world collides with the human. Now, when I walk Maine's rocky coast or along the bank of a forest stream, I search for relationships between the forms, colors, and textures created when stones, water, trees, and other organic elements intersect with remnants of human activity such as abandoned boats, scraps of painted wood, rusted machinery—forgotten materials often cracked and pitted by wind, ocean, and time. There's an ambiguity of reference and association that leads observers down a variety of paths. People might look at a painting and imagine they are walking through a canyon, beside a weathered barn, through a marine salvage yard, or past a stone house built into a cliff. They might be struck by a relationship between two disparate materials or surfaces that somehow have grown into each other, enhancing their overall beauty. They might notice a texture or color that seems to have aged just right, as if the original maker of the material (if there ever was one) has anticipated its gain in authenticity over the decades. This body of work, then, is about reinterpreting landscape and natural surroundings with a range of tools and vocabularies to better understand how we look at the world, perceive its beauties, and form a new, heightened relationship to it. To meet this challenge, I’ve woven together aspects of several artistic genres. Painting has pulled me toward layers of color and value with their wide expressive and emotional possibilities. Sculpture, with its emphasis on form and texture, has played an integral role in the composition and repetition of patterns I’ve explored. Architecture, especially vernacular architecture that incorporates responses to local climates and terrains, has been critical in helping me think about the way design is inherent in choices as particular as the implements used to construct and as complicated as where to position a structure to optimize its function and beauty. These influences, in turn, have led me toward specific materials, techniques, and subjects: I have been working with wood for the last 30 years and only grown in my respect for its receptivity to different kinds of treatment. Pieces of metal and fiberglass that I've collected from the coastlines of Maine, New Hampshire, and Massachusetts are selected for their color, texture, and shape. I have also used ceramic, rice paper, stone, glass, plaster and other materials to explore a wider variety of visual effects. Once the pieces are assembled, I add color combinations of acrylic, encaustic, and layers of oil paint to build both undertones and opaque colors with each form. As the pieces materialize, I often carve into the surfaces and reapply paint in an iterative process, reworking the surface until the relationship between each section of the form develops cohesion. These pieces, which are either abstract designs or landscapes, frame a way of thinking about natural environments, aerial views, as well as irregular terrains such as coastlines that existed well before human habitation but whose existence is now deeply affected by our activities, careful or negligent as they may be. I have also attempted to achieve a suggestion of motion in the shapes beyond their borders, a sense that there’s a consequence to all this activity. It’s my hope that as you look at my work, you think of your own experiences of patternings, cycles, and habitats as they affect you, our communities, and environments both physical and otherwise. In doing so, it may be possible to see just how much we’re responsible for sculpting the reality that surrounds us, the perceptions and the materials that form our experiences in the world."