From early days travelling through my home province of BC headed to campsites with my parents and brother to the yearly road trips I now take solely for the purpose of gathering reference, the memories and experiences of landscapes that resonate the strongest for me have always been the one I accumulate from a passenger seat. Contemplating these mediated scenes where towns and rural expanses ebb and flow, floating by and occasionally coalescing into a sum that is more than their parts, is mesmerizing. The car window and the camera act as filters to silence and slow the moment rushing by in the periphery, so that it can become almost still and calming.

The paintings that result from these experiences often depict the intersections of man's hand and nature. There is a dichotomy present of architecture and manicured fields, next to the organic forms of foliage and areas of untamed expanse. In the work I am always trying to bridge these two elements, from the subjects, to the techniques with which the photographs are processed, to the way the paint is applied. By using crop lines from the projected image and leaving evidence of digital manipulation I have found a way to bond the more modern aspects of art making like minimalism and monochromatic painting with the tonalist landscapes of the late 19th century. My aim is to revitalize landscape by merging it with more contemporary art practice and in turn build something entirely new.