My interest in nature goes back to my show Rhyme and Reason in 1999 when I was focused on the relationship between the sand and the sea, and the line inbetween, which shifted and changed with every wave. Then I began looking at nature more closely as a section, slicing through it vertically like an architectural elevation min my show Silver Lake in 2005, when again nature challenged my senses as a topology of marks that man made on its surface. The white paintings series in 2008 looked at the interference of man’s marks in snow. And in 2010 after a residency in Banff, my perspective of mountain landscapes left me with a sense of claustrophobia and disorientation.
White Out freezes a moment of an encounter of the viewer with the landscape into a fusion of perceiver and perceived in an attempt at stopping time. We want to hold onto the power of the sunset on the mountainside but we also must let go of it, as it is fleeting. In this way, we can face death. My work continues to deal with the boundaries of the landscape and how these juxtapositions of mountain forms, the light, and air are shifting. The mountains are both monuments to life and references to tombstones. This dichotomy shapes my work and clarifies my relationship with nature and origin.
In the light of the recent hurricane and many global catastrophic weather occurrences, I am particularly aware of global warming and the melting of our glaciers. White Out is an attempt to dwell in the beauty of our natural resources and at the same time, become palpably aware of their demise.