16x20” / Oil on canvas / Pine float frame
Please note this piece will be available for pick-up at the beginning of November 2026
I often find my eyes wandering to the ground or the sky for inspiration — I’ve never been much of a “look straight ahead” walker. This scene is from the bog near my house; I was struck by the mixed texture of the leaves and the range of yellow- to blue- greens.
For many years I’ve been fascinated by the idea of “boundary layers” — the small layer of air that hugs surfaces, like leaves. This space functions as its own microclimate. Where does one thing end and another begin? On smaller and smaller scales, the delineation seems to blur.
From a technical standpoint, this painting was an experiment in using cool and warm colors to create visual harmony out of a scene of dense foliage. Except for the gray areas, this painting is made with only two colors: Phthalo Green and Transparent Orange.
References
Edgeless plant paintings by David Dibble.
Gathering Moss, by Robin Wall Kimmerer, where I first learned that all surfaces have a boundary layer.
Stewart Brand in How Buildings Learn, on the “continuous very small feedback loop adaptation” that allows incredible structures in nature to emerge. I wonder at how this mess of leaves and stems grew around itself.
16x20” / Oil on canvas / Pine float frame
Please note this piece will be available for pick-up at the beginning of November 2026
I often find my eyes wandering to the ground or the sky for inspiration — I’ve never been much of a “look straight ahead” walker. This scene is from the bog near my house; I was struck by the mixed texture of the leaves and the range of yellow- to blue- greens.
For many years I’ve been fascinated by the idea of “boundary layers” — the small layer of air that hugs surfaces, like leaves. This space functions as its own microclimate. Where does one thing end and another begin? On smaller and smaller scales, the delineation seems to blur.
From a technical standpoint, this painting was an experiment in using cool and warm colors to create visual harmony out of a scene of dense foliage. Except for the gray areas, this painting is made with only two colors: Phthalo Green and Transparent Orange.
References
Edgeless plant paintings by David Dibble.
Gathering Moss, by Robin Wall Kimmerer, where I first learned that all surfaces have a boundary layer.
Stewart Brand in How Buildings Learn, on the “continuous very small feedback loop adaptation” that allows incredible structures in nature to emerge. I wonder at how this mess of leaves and stems grew around itself.
