Nothing stays still, nothing is permanent; there is always more to see. As a painter rooted in the observation of nuance, repeated study is foundational to my process. I am curious about our built environment as it abuts, interacts with, and stamps over the natural world. Painting is the medium that I employ to inquire and learn about the cycle of demolition and new construction that takes place on top of the natural landscape, more noticeable in urban surroundings. The subject matter of the works referenced in this thesis consist of built sites in central San Diego and the organic space of the San Diego River valley that slices through its center, all within a radius of three-square miles. This body of work explores fluctuations in the landscapes that I have occupied, observed, and recorded since 2015. In response to the inevitability of change, I draw connections between visually disparate, adjacent locations. My interest lies with what is on the periphery of our urban environment. Images such as a fenced-off construction site are meant to be ignored, but their blocked-off state only entices me to observe more closely. These works invite others to look more intentionally and find new ways of seeing the complexities of the daily world through the language of line, shape, and color. I consider myself a landscape student and believe that this role, as referred to by urban planner JB Jackson, is about helping others to learn by seeing. The Poetics of Fragments represents my exploration of these visual spaces and was installed in the University Gallery at San Diego State University from April 12-25, 2019.
