The notion of souvenir underlies most of my art-making priorities. In that respect I think back to specific souvenirs and keepsakes from trips or significant events in my life and understand my affection for the actual objects as the encapsulation, in physical form, of a set of places and feelings and people. This impulse to collect, organize, and protect experiences is the most basic reason why I make things. Many of my drawings find their origin in events or locations in my present or the personal mythology I’ve made from my past. There’s certainly a commemorative drive to my work that parallels the impulse someone might have to make a journal entry, take a photograph, or cross-stitch a picture celebrating a wedding or the fourth of July.
At it’s best my practice is an act of attention, to memory, to tone, and to material. The kinds of images that I often select include postcard nature images like waterfalls, desert-scapes, and mountains as well as different forms of dwellings ranging from the small and temporary to the monumental. The landscape is invoked as a metaphor for sacred or conceptual space and is always unpopulated.