As an abstract landscape/oceanscape painter, I continually seek fresh approaches to represent nature from a distinctive perspective. My inspiration comes from extensive trekking and hiking in high-altitude landscapes, sea expeditions in the Arctic and Antarctica, as well as immersing myself in wild, natural settings. Daily walks along beaches and through local forests give me fresh ideas for how to portray the beauty of nature. Fully engaging in these environments is essential—they envelop you, stretch out beneath your feet, and rise overhead.
While not searching to create a representative landscape, I have taken two artistic approaches over time. The first explores painting’s visual language, using metaphors to express elements of being present in nature. Through the deliberate layering and removal of hues, the construction and deconstruction of mark-making, the exploration of motif interactions, and ongoing refinement, I endeavor to express not only the tangible qualities of the environment but also its more subtle aspects, such as the sound of birdsong, the wind rustling through ithe trees, or the resonance of flowing water and crashing waves.
The second approach relies on a process driven technique which does not allow for expressive mark making to explore non-observed elements in the landscape or oceanscape. It solely relies on utilizing the properties of melting, previously frozen, pigments. The only manipulation done is through placement of the frozen pigments on a substrate and the gentle movement of melting pigments with a fan. This process offers a unique perspective on envisioning landscapes and oceanscapes as the Earth consists of at least 71% water, with oceans making up 97% of this water. Glaciers and rivers shape landscapes by transporting massive amounts of rocks and sediment, forming mountains and carving valleys, while oceanscapes feature layered strata according to depth, sunlight, and a rich diversity of sea life. Although chance plays a significant role, choices regarding color placement, timing of additional frozen pigment, and the amount of ice melted are all deliberate