My work investigates environmental change through long-term relationships with specific places. I return to the same forests, rivers, deserts, and watersheds over years and often decades, allowing sustained attention to become both my artistic methodology and a way of understanding landscapes that cannot be grasped through brief observation alone.

Painting, drawing, and layered relief sculpture are the primary forms through which I translate these experiences. They allow embodied observation, ecological research, memory, and material process to coexist without reducing one to the other. Rather than illustrating scientific knowledge, I work alongside it. Long-term conversations with ecologists continually reshape what I notice, revealing processes of disturbance, succession, hydrology, climate, and deep time that gradually become part of my visual language.

The work develops through repeated field visits, walking, climbing, paddling, drawing, and careful observation. I often make my own paints, incorporating pigments gathered from the landscapes themselves so that material and subject remain connected. Every decision—from the behavior of a pigment to the scale of a relief sculpture—becomes part of an inquiry into how environmental change can be experienced rather than simply represented.

I am interested in forms of change that unfold too slowly for ordinary perception: rivers shifting course, forests responding to disturbance, desert ecosystems adapting to drought, and geological processes extending beyond a human lifetime. Art offers a different mode of attention than science, creating space for ambiguity, wonder, and lived experience while remaining grounded in careful observation. My practice seeks to create work that deepens our capacity to perceive ecological relationships and our place within them.