Ever Wonder

I’ve always thought that the landscape of the Rio Grande Valley, where I grew up, forged into me what artist composition should be: long horizontal lines – the river, the sensual -- punctuated by the stark vertical of tall palm trees. It’s deep within my psyche. The horizontal is absolutely the feminine and the vertical is absolutely the masculine—the two most basic elements of all composition. 

The Valley also gave me a great appreciation for nature. As a child, my family lived in an old farmhouse in the middle of an orange and grapefruit orchard.  My brothers and I would go get lost amongst the rows of citrus trees on purpose, to see if we could find our way back to the house.  (It was one big grid so you really couldn’t get too lost.)  This was a microcosm of the rest of the region.  No hills.  One river.  Fields everywhere. A man-made “natural” landscape laid out on a grid.

My latest series, “Brush Clearing”, portrays a familiar feature of this “natural, man-made” landscape here in Texas. The leftovers of clearing the land create habitat for animals and provide landmarks in an otherwise featureless vista. During our current drought, these monuments to our (supposed) mastery of taming our environment, stand un-burned for years. By taking a long view and photographing them over time, the objects can be seen to deteriorate and return to the soil.

The prints of this series are very large to show incredible detail. The files are many hundreds of megabytes. My intent is to create works that not only reference the original scene, but stand on their own as objects in the physical world.

As an artist, I find myself being drawn more and more to natural subjects—returning to the place where I grew up and where my sensibilities were formed. My work is about the nature of reality, the nature of time, and our perception of both.

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