In my paintings, I attempt to locate the spiritual within the context of the landscape. I am influenced by the Romantic tradition of landscape painting, where nature is understood as a transcendent reflection of God. However, my paintings lack the purity and optimism of that period. Working within the Christian paradigm that positions the world as fallen yet with the potential for redemption, I am interested in the land as a place that is both profane and divine.
Large objects or voids typically interrupt the space of the landscape in my paintings. These areas serve as deposits of loss, yet reference Biblical symbols (such as water, rocks, tents and trees) and affirm a sense of peace.
My painting language relies on elements of tension and resolve. Moments of controlled and contemplative painting converge with more agitated gestures. Within my work it’s important that I expose evidence of my hand and the material substance of the paint. Just as nature has a transcendent quality where raw, earthy elements can converge into a spiritual expression, I hope my paintings function in a similar way.