Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
18×24 inches
watercolor, acrylic pencil, Arches cold press watercolor paper, birch block, cold wax seal
Situated within the unstable terrain between landscape and process, where the motif of the tree becomes less an object than a structural device for organizing the surface. The leaning trunk, with its pronounced arc, establishes a directional force that pulls the eye laterally before dispersing into a network of smaller, almost cellular growths. These proliferations resist botanical specificity; they read instead as accumulations—marks that hover between foliage, coral, and mineral formation but are essentially human.
The sky, articulated through broad, aqueous passages, refuses atmospheric coherence. Instead of receding, it presses forward, flattening the pictorial field and collapsing distinctions between foreground and background. The result is a kind of spatial ambiguity in which the landscape does not open outward but folds back onto itself.
18×24 inches
watercolor, acrylic pencil, Arches cold press watercolor paper, birch block, cold wax seal
Situated within the unstable terrain between landscape and process, where the motif of the tree becomes less an object than a structural device for organizing the surface. The leaning trunk, with its pronounced arc, establishes a directional force that pulls the eye laterally before dispersing into a network of smaller, almost cellular growths. These proliferations resist botanical specificity; they read instead as accumulations—marks that hover between foliage, coral, and mineral formation but are essentially human.
The sky, articulated through broad, aqueous passages, refuses atmospheric coherence. Instead of receding, it presses forward, flattening the pictorial field and collapsing distinctions between foreground and background. The result is a kind of spatial ambiguity in which the landscape does not open outward but folds back onto itself.