In my most recent work I imagine a world in the future after the climate has long tipped and there are few traces left of the things we built. The sun is hot, the winds severe and the water high, but the views look glorious. There are only a few survivors left to roam the landscape and look for divine guidance. As for their state of mind, I think of the captives in Plato’s allegory of the cave: Just as they mistake the shadows from the puppeteers behind their backs as signs of the divine, my survivors impose their ideas of the divine onto the world they see. They visually impose patterns (often in the form of dots) as proof to themselves that they “see” the divine.  I imagine supernatural beings standing by as silent witnesses and do not interfere on behalf of the humans. My work does not illustrate or narrate these ideas, but those thoughts are at the heart of the work. I paint the landscapes from the perspective of the survivors, or the supernatural being, the omniscient viewer. Painting these invented landscapes is as much about climate grief, escapism into a future world as an act of devotion to the beauty of the natural world, even if no longer viable for us. They are about the human need for myth making when facing vast and wild space alone. I have always been deeply invested in figuration, and how to show a deeper psychology between outer appearance and inner state. In developing my imagery I rely on intuition and process, and need many scraped off layers to finally arrive at something that sticks.  Painting allows for a corporeal and unmediated experience with the intangible.