I create painstakingly slow, hand made cross hatch landscapes using only the four standard process colors used in 99% of commercial printing (cyan, magenta, yellow, and black or CMYK for short).

Although the language of my hand made images is "digital" (i.e modular, logical, and combinatoric), what I am most interested in is what happens when that digital syntax collides with the “resolution limitations” that inevitably result from creating a cumbersome physical object imperfectly by hand. Put another way, I am constantly trying (and failing) to turn my body and mind into the world’s slowest, least efficient digital image processor because the result is not a photograph but a distorted fun-house mirror that reflects our own relationship with technology and with the natural world back at us.

I often think about how humanity’s first ever image of another planet is just such a hand-made photograph. In 1965, the Mars Mariner 4 Spacecraft transmitted 22 photographs of Mars back to earth. Transmitting each photograph took over 6 hours, and it took even longer to process the image data. The engineers at Nasa didn’t want to wait, so they printed out the numerical color codes of each pixel and colored them in by hand with pastels to slowly construct a picture that was true to life. The sense of wonder and possibility must have been tangible. I also think often about how one hundred and fifty years earlier, in a similar act of exploration, John James Audubon set out to document all the birds of North America. He shot them, broke their bodies, and pinned them to boards so that he could painstakingly reproduce every detail at one to one scale. It was a similar slow and patient act, but also a violent one laden with all the brutal and acquisitive impulses that accompany a manifest destiny. I am almost certainly infected with both perspectives, and my work explores what it means to live in the contested territory in between.

“It is in vain to dream of a wildness distant from ourselves. There is none such.” Henry David Thoreau wrote in his journal. “It is in the bog in our brains and bowels, the primitive vigor of nature in us, that inspires that dream. I shall never find in the wilds of Labrador any greater wildness than in some recess of Concord, i.e. than I import into it.” I hope my work will slow you down and draw you into that primitive bog. There are things to be found there we should wrestle with.

Born in New Hampshire, and a long time Boston artist, I’ve lived in every New England state except Vermont at some point. I maintain a studio close to the water in East Boston where I can draw and paint and also track the tides.

I have received support from The Joseph and Annie Albers Foundation, The Berkshire-Taconic Foundation’s Artist Resource Trust, The Massachusetts Cultural Council, Boston University’s Blanche Coleman Trust, Mass MoCA's Assets for Artists Grant, and The Surdna Foundation. My work has been featured at many venues internationally including The Portland (Maine) Museum of Art, Burren College of Art (Ireland), Frappant e.V. (Germany), Massachusetts College of Art and Design, Boston University, Wheaton College, Rhode Island College, Second Street Gallery (Virginia), Lux Eros Gallery (Los Angeles), Fountain (Brooklyn), Proof Gallery (Boston), European Gallery (Boston), Area Gallery (Boston), Shelter in Place Gallery (Boston), Cost Annex (Boston), Beacon Gallery (Boston), and Room 68 in Provincetown, MA. I am also a professor of art at Simmons University in Boston.