I began painting with pigmented beeswax twelve years ago, and became fascinated with the range of things that I could get to happen by heating and cooling the wax. Gradually, the process of heating and cooling evolved into a way for me to compare human and geologic time, and think about how humans impact the earth.
Rocks can tell stories if you know how to read their bands of strata. In my own comparatively smaller way, I consider painting similarly. Using the process of making as a tool for discovery, the wax medium becomes fodder for a re-visioning of natural history, where I get to make all the specimens in the museum.
My current work aims to create a glossary of geologic processes - as if each piece were a page from a reference book, illustrating cross-sections of imagined terrains. These paintings are built up thickly around embedded sculptural elements, and then excavated and eroded to reveal what is buried. Like rockfaces or archaeological sites, their layers reveal the history of their making and can be read like the lines of a story.