Transient Recollections was curated by Christina Hahn from 2 separate but related bodies of work. The paintings form a natural dialogue, articulating my mixed experiences exploring the Texas landscape. The folding paper works - orihons, are inspired by 19th century travel brochures. They are meant to recreate the sensation of hiking through a region, presenting a stream of related imagery. The orihons record my journeys in the wildspaces around DFW; as such I originally referred to them as visual journals. At the time, I was new to Texas and sought some sort of connection, some sort of bridge to my former life. Immersing myself in these areas eased my transition while also seeding within me a mission. This would eventually lead to the Litter in the Landscape series as my agitation over the condition of the wildspaces forced me to stop romanticizing the experiences. I NEEDED to discuss the ugly that saturated the beautiful. Throughout the series I attempted to manifest the tension I felt between enjoying the scenery and being repulsed by the refuse that littered it. I created the paper with a pulp I made from reclaimed museum matboard and paper litter recovered from my excursions. This substance would then be pressed into wax molds to create the relief support that I would then melt down and reuse again, and again. The frames are mostly made from pallet wood. In most of the compositions I focus on plastic pollution - this is because it is personable. Every bottle, every beer box, every bit of detritus was discarded by an individual. And it is all, slowly, working its way to the sea where it will continue to break up into smaller particles, infusing our ecology with a poison that does not go away. We are choosing, on an individual level, to diminish our own future. Why is this the path we are walking down? 

   Although these 2 bodies of work are no longer active that does not mean they have finished communicating with you and I. The interaction between the orihons and the Litter in the Landscape works has never before been explored. Collectively they emphasize the tension I observed between serenity and disgust far more so than was achieved in any individual work.