At first glance, Great Lakes announces itself through color—fields of saturated crimson interrupted by passages of turquoise, white, and gold. Beneath that energy lies a quieter structure: layered marks, geometric fragments, and rhythmic gestures that emerge and recede as the surface is explored.
Rather than depicting a landscape, the painting draws from the idea of the Great Lakes as places of immense depth, movement, and hidden force. The composition balances turbulence with order, allowing intuition and intention to coexist within the same visual field.
Built through repeated layering, scraping, and revision, the work preserves evidence of its own making. Earlier decisions remain visible beneath later ones, creating a surface that records both change and persistence. The result is less a fixed image than a continuing conversation between memory, material, and time.
At first glance, Great Lakes announces itself through color—fields of saturated crimson interrupted by passages of turquoise, white, and gold. Beneath that energy lies a quieter structure: layered marks, geometric fragments, and rhythmic gestures that emerge and recede as the surface is explored.
Rather than depicting a landscape, the painting draws from the idea of the Great Lakes as places of immense depth, movement, and hidden force. The composition balances turbulence with order, allowing intuition and intention to coexist within the same visual field.
Built through repeated layering, scraping, and revision, the work preserves evidence of its own making. Earlier decisions remain visible beneath later ones, creating a surface that records both change and persistence. The result is less a fixed image than a continuing conversation between memory, material, and time.