Working with nature has always been at the center of my art making process, this may take the form of images or working directly out in a landscape. Rather than manipulate nature I am interested in understanding how we are alike and where biology and art creativity may overlap.
The first Tree Marker piece I created was as an undergraduate student at the University of Rhode Island, many years later in 2015 I began again by planting tree markers in the wetlands of Lincoln, Rhode Island. This work developed into planting trees in Historical Graveyards in norther Rhode Island. The historical graveyard plantings make sense both with regard to the grave markers themselves which were marking time and loss and my planting Dwarf Alberta Spruce trees also marking loss and remaining roughly human size during there slow growing period. I check in on the health of my tree-marker plantings from time to time, in a number of years I should have human size trees inhabiting the graveyards of northern. This work is very satisfying I somehow feel complete once I have planted a tree-marker, the tree planting project will continue in the spring of 2018 as there are many more sites that need marking.
Simultaneously I have been making paintings. The “white tree” subject matter runs through all of the 2017/18 paintings and these are an attempt to bring my drawing process into my painting practice, consequently, the works are more immediate and fluid. As I am an artist who’s work crosses from the twentieth to the twentieth first century I have held on to working in the sensual medium of paint but see no real difference in images that come from painting or images that are the result of planting trees. I am continue to work to visualize something that I cannot yet see.