With this group of work, I am exploring two processes of paintings which were made in parallel to each other. One group created entirely in the studio, and the other out in nature. Water has been a huge influence in my work. I am investigating it as both as a subject and directly as a medium to see how an outside influence can change the paint and become the true reality of the moment. Working with primed and unprimed canvas, flat and raw surfaces versus areas of thick glossy paint, all the many currents flow together and apart to form one paralleled body of work. The first pieces are made by using a processed thickened linseed oil poured over the canvas like water. The paint separates, saunters about and continues to shift and transform for days. Most paintings had to lie flat for over six weeks before I could continue to work on them. With this process, I was hoping to capture the fluidity and depth of the water, creating veils of color to capture the freshness and wetness of the initial moment as it was poured on the canvas. The second group of pieces I worked to capture the immediacy of the moment by working directly with natural elements. These collaborations with nature are made by painting in the rain, snow or at the water’s edge and working with the waves as they wash over the canvas. I am trying to capture a dialogue between my marks and how they change with nature’s influence used as a medium. In the paintings that were frozen, the marks from the ice and then from thawing are still barely visible. Within the subtlety is a purity. An axiom of the wilderness. The space around the stillness is the present. These paintings become the product of the reality of the moment. As a whole these works speak about the consonance of process and the realization of the moment. Whether it is built up of many, or captured at once. I seek to find the most eloquent way possible to meld nature’s ascendancy, the formalist act of painting and my own subconscious.