There are many ways to see the world and to understand the ‘whole’ (the planet). We have to be willing to see from multiple perspectives. My work offers a way to see the landscape differently. I am working to give the viewer a different way to look at the landscape and to begin to consider self, role, cause and effect, depth, understanding, curiosity and beauty.

My interests in earth science, history, design, architecture and faith are the pillars that influence my work. Most of us are in pursuit of understanding the origins of our landscape, from the violent beginnings of our planet to the tectonic plates that continually collide, fold and grind, to the macro and micro ecosystems has led me to see the landscape from many vantage points. This is where I have begun to focus on specific details such as the invisible and visible features, elemental forces, the inhabitants, neglected landscapes, interstitial spaces, and landscapes of devastation and beauty. 

My technique and choice of materials reflect my observations of our relationship as well as my interaction towards the landscape. My approach varies from a tedious and labor-intensive process to an intuitive, gestural approach. These two approaches can be and are places of meditation for me but also represent ‘our’ relationship as whole with the landscape. I also want to give, through interaction, awareness of our role, as stewards and inhabitants (shortcomings included), and to give the viewer an avenue of creativity. This creative interaction could lead to the beginning of ownership of the landscape.

The use of multiples also reflects meditation and the visual of a system or landscape. The use and choice of materials reflects the context, function, and association with the landscape. If we were to hold the planet in our hand the crust, the landscape, is only as thick as a piece of paper. I use materials that deliver the concept or suggestion of the landscape. My work is a reconstruction or facsimile of visual information collected then represented through models made by actual landscape materials such as rocks, clay, and grass or by faux versions used by architects or model train enthusiasts.   

Icons who have commented on the beauty, form and systems of landscape are Maya Lin, Tara Donavan, Stacy Levy, Meg Webster, and Blaine De St. Croix. Mark Dion specifically influences me with his method of personal science and archeology, as well as his way of teaching the viewer. Architecture, landscape architecture and Japanese design are other disciplines that explore and create these same places of reflection, meditation, and education. These disciplines, practitioners, and the idea that one voice or many small ones can impact the ‘whole’ leave me with the responsibility and obligation to share with others.