This work stems from my contemplations on nature and our relationship to the environment. The series consists of cyanotypes made on the oceanfront on the eastern shore of the Atlantic. started in Montauk, NY, at the Andy Warhol Preserve and the Nature Conservancy artist residency during the Fall of 2019 (and continued on Cape Henlopen, DE). Made in collaboration with the landscape by employing sun, ocean water, sediment, and coastal plants, these agents leave a physical inscription through direct contact with the medium. The process creates patterns and textures imprinted on the paper by plunging pre-coated light-sensitive paper into the water, where the salt, sand, and seaweed wash over it. The sunlight colors surfaces in various shades of brilliant blues. 

This series employs a wide range of blue hues evocative of light and underwater spaces layered with weather data derived from satellite images, tracing of wind patterns and notation of locations and speed, abstract marks and shapes to create fluid movement. Deep azure and cerulean may first appear subtle and even of low contrast. Still, a moment of intimate viewing allows the colors to saturate the surface with emerging purples, pinks, and ochres that have the power to swell from near-silent serenity to tempests. The array of compositions provide shifting perspectives from torrent skies to ocean horizons reaching sea depths pierced with sunlit water surfaces. 

The cyanotype process soaks up light, absorbing a fraction of time. By referencing the sublime, geologic forms, wind, and weather patterns, my work continues to highlight global climate change focusing on the threat of rising seas from melting ice caps. By infusing the paper with the saline ocean water and permeating it with the sunlight, every piece accelerates the current environmental narrative.

The Chesapeake Bay has long been a focus of my work and I have used NASA satellite images and weather data to generate patterns, creating layered drawings and installations on the region's changing environment. In my newest work, I turn to one of our most vulnerable landscapes, the glacier fields of Alaska. Retreating glacier ice is one of the most visible signs of climate change and is a marker for the quickly shifting (i.e., degrading) ecologies of Alaska and of the planet.

This project is largely informed by my research into the writings of early American pioneers of geophysics and glaciology, John Muir and Harry F. Reid. Both conducted research in Alaska between 1890 and 1900 that focused on measurements of glacial movement, data that was transformed into poetic writings on the ever-changing nature, and color, of their subject. My drawings present chronology of marks, layers of color and texture that evolved as I worked, a weathering process based on how glacial ice changes as air, light, and water transform it. As Reid noted, “The ice-front has a wonderful coloring. All stages [of transformation] are represented in the ice-front, which therefore shows all shades of blue in striking variety.”

Curated by Susan Laney of Laney Contemporary (Savannah), Unseen Patterns, was a site-specific installation in a solo show at the Westobou Gallery in Augusta GA. Based on aerial maps of the Savannah River and satellite imagery of weather patterns of the Chesapeake Bay and Georgia region, I incorporated a cumulative data compiled between Feb. 28, 2015, 11:41 am, the Chesapeake Bay to Aug. 24, 2016, 9:03 AM Georgia. With the use of software, I turned this visual data into patterns which were cut into a wide array of shapes and used as templates to paint the layers of information embedded within the shapes to create fluid, open compositions in which suspended felt and Mylar seemed to defy gravity.