The technical process of making the painting collages also speaks to the disruption and alteration of nature. Each piece is created though adhering strips of oil-stained paper onto natural birch panels. Drawings of tracts of ranch houses and other structures are carved directly into the wood and then stained with oil. This process creates permanent incisions into the panel itself, like a scar.

Are you still working with collage? Any upcoming projects?

Yes, I am still working with collage in all of its forms. Currently, I have been working on updating an interactive series of time-lapse photo collages, Along the Waterfront. In 2005, this piece, with my other work, started out as a long walk. Similar to Ed Ruscha’s Every Building on Sunset Strip, I photographed the Greenpoint/Williamsburg waterfront — every building from Wythe and N.4th, around to Franklin Ave and ending beneath the Pulaski Bridge. Six months later, I returned to the same location and retraced my steps. I have been doing this for the past five years.
     In addition to this view, I have been documenting Kent Ave., West Street and the view from the Pulaski Bridge to get additional perspectives. Each strip is then collaged above one another in order to visually compare the changes. In some sections of the “strip”, the changes are slight, such as new or removed graffiti, foliage in the trees, different cars, etc. But the drastic changes to the waterfront are the addition of forty-story high rises, the demolition of row houses and warehouses and the addition of people and traffic.