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I take the view that, as a contemporary artist who paints, I have a 
tourist’s eye. The tourist-painter, full of postmodern romanticism for 
the past and a desire to visit important historic sites, collects 
souvenirs in the hopes of making something new. Many of my paintings 
are about acts of looking and making pictures. They are filled with 
spectators, voyeurs and various picture-makers. Cartooning and 
architectural rendering are fused with drips, brushstrokes, and pools 
of paint to construct surreally familiar landscapes. Most recently, 
I have been working from the premise of an imagined “Great American Roadtrip,” 
evoking iconic landmarks and the language and legacy of mid-2oth century 
American panting.

Merging illustrative and abstract painting strategies, I combine 
exaggeratedly thick and thin paint, seeking applications that would 
traditionally seem to contradict an illusion. The illustrative passages 
suggest a story, but most often it is a painting event—a splash, 
brushtroke, drip, etc.,-- that completes the narrative equation and 
becomes the object of the tourist’s gaze.