Since 2018 I have been exploring forms and techniques in art making. This unexpected journey has flourished in various forms, materials, narratives and styles which range widely from small sketched and works in notebooks that draw on the story of my experience and the significant transitions over the course of my journey, to larger works on wooden panels, canvas and paper which seek to express a new understanding of form, color and line while retelling a narrative and personal history in modes that can be widely understood and shared. As a self taught artist who has come a bit later than usual to find the ultimate fulfillment and the joy which that effort and process bring to me, I explore all types of media in my art making. Beginning in the earlier years with acrylic paint and paper collage, I have felt free to explore any and all forms of two dimensional techniques and materials, seeking new and vibrant expressions of texture and form that are intended to be timeless. And while my journey in art making only began in 2018, my education in art and its meaning span a lifetime of direct experience and learning, as well as formal teaching in architecture and humanities. This wide range of experience as well as the freedom of being untrained I hope can produce images and forms which draw on the most fundamental human understanding of archetypes, symbols and the primal landscape. If I were to try and explain what is my most well understood vocabulary of forms it would begin with the land and landscape. While my very earliest work, especially the paper collage mixed media early works were deeply narrative and allegorical, the landscape form is what I would describe as my most natural and comfortable mode of expression, perhaps well represented beginning with Dogwoods in 2019 (shown here), a work which represents my exploration of perspective, experimenting with vantage as an immersive mode as well as introducing texture achieved through a backwards layering process which reveals depth and surface character through removal, gouging, scraping and distressing the surface. I have repeated this technique in a series of wooden panel works and also brought elements of this methos to other surfaces such as canvas, paper and mylar. I also hope that my work has evolved to a more intuitive understanding of primal forms and can achieve a new way of expressing the most primitive and primal forms so that they can be experienced and appreciated at the most fundamental level, without the burdens of identity or meaning.  My primary goal, beyond the purest form of curiosity, my purpose is to create work which is appreciated and felt well before it is understood, and even before the forms are acknowledged.