For about a decade, I had created immersive environments that were simultaneously enticing and forbidding. In this body of work I pulled the lens back, allowing for negative space to create borders within the composition and centralize an abstracted form. The forms can play as both amorphic figures and individual islands of fantastical landscapes or mindscapes.
 
I read a lot on geological history, and am particularly interested in splitting of land, resulting in islands. By relating my drawings and paintings to this history, each piece of art is its own entity, but there are overlaps, showing divergence and evolution in concept and form. A drawing or painting individually presents an abstracted world and then grouped together are reflective of an archipelago. They are not a series but rather a fragmenting of landmass, a splintering of a thought, a relational collective experience. To inform my visual library I travel to diverse landscapes to seek out the new, but often find overlaps to previous experiences. By using the landscape as a visual for human experience, I explore the concept of “no man is an island”; what are the connection we have with one another, just as there are connections in a network of islands. Even when they may not be obvious, if you look closely there are similarities; little moments of beauty to be explored and celebrated amongst the layers of complex and dense information that we consistently encounter or that we consistently embody.