Nature is everywhere in my work, but what compels me most is the natural world at the edges. The extremes are most provocative to me, such as the emptiness of a desert expanse or the intricate layering of a microscopic world view. It’s what isn’t obvious that keeps me looking, and I look without any desire to mimic or reproduce those marginal worlds. My paintings are not objects as much as they are a record of how to search—how to listen (aurally and visually) multi-dimensionally and how to respond to what I hear without fixing it in a representation, without imprisoning it in a picture. The complexity of the surface is a complexity of perceiving, synthesizing, and navigating a limitless world.