I believe that in this modern life, it is all too easy to assume that the world of nature and the world of human culture are totally separate. For me, this assumption was repeatedly shattered after experiencing the destructive power of nature while living in central Oklahoma. These experiences instilled in me a deep respect for the vast web of life that both supported and threatened my community, and motivated me to seek out and emphasize places where natural and artificial worlds collide using the language of art and oil painting.
I typically draw inspiration from daily observations of nature, and as a result my imagery changed dramatically after I moved to Alaska. Despite the change of landscape, the core concept of investigating intersections of nature and culture remains the same. This is a fascinating task in the Alaskan Interior, as these intersections are clearly exposed. This community has a unique relationship to nature, as modern homes and businesses coexist with vast, virtually untouched wilderness.
I recently purchased a tract of raw land with the intention of building a cabin, and wasn't terribly surprised to find the land came with some impressive piles of junk. I was frankly enamored of these objects, abandoned but not destroyed by the previous owner. They had a potentially useful quality that resonated with other aspects of the Fairbanks community; transfer sites, the airplane graveyard behind the airport, old couches and tables and wooden spools that littered the yards of countless homes. I wish to investigate how the Alaskan community experiences nature by abstracting and amplifying the fine line between usefulness and decay.