Through smudgy charcoal drawings, prints, photographs, books, cutout sculptures, and installations, I create landscapes that teeter between fiscal cliffs and booming developments. Electrical transformers, cell towers, and billboards grow like invasive species. And invasive species, such as dandelions, pop up in photographs of lawns and installations using vinyl decals, stuck directly to walls and windows. Their silhouettes create mutated landscapes—alien-but-familiar spaces in a continuous state of flux.

Whether I’m transplanting lawns or painting watercolors, I am involved in hybrid art practices unified by my interest in peripheral spaces and the visual hum we barely notice day-to-day. My work urges a reconsideration of the built environment—the peculiar street signs, gas station banners, overgrown weeded lots, and self-storage buildings. As photographer and historian Deborah Bright writes in Of Mother Nature and Marlboro Men, “Every representation of landscape is also a record of human values and actions imposed on the land over time.” In the largest sense, my work reflects this imposition. Landscape, as opposed to land, is a representation, and through representation, land itself is constructed, changed, understood; perhaps through my mediation on the most humble piece of ground, a tiny incremental shift in perception and action can occur.

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