To look out a window is an attempt to alter the view. As an anesthetic for extreme emotional experience, I paint my view as I would like it to be. Donning rose-colored glasses and gazing out is a strategic retreat. By curating my field of vision, I suggest my desire for, but also the impossibility of such idealized conditions.
Chronicling the passage of time and the beauty of the landscape outside my studio window in the coastal New England neighborhood where I live, I unify the content of my work around the cycles of nature and domestic activity. My images speak to the contradictions and poignancy of daily life and touch on themes of well-being and mortality, pleasure, loss and the balance of living.
Carefully composing and layering on each painting in a way that consciously echoes the laborer gardening, embroidering, gathering and arranging, my images depict domestic routine as contentment. Placement is exacting. Paradise is frozen. I curate an idealized and intentionally artificial view, suspending pleasure indefinitely only to find that even with rose-colored glasses on there is always a sliver of reality in the periphery beyond the edge of the glass.