A Field Held in Place
The work transforms the studio into an encompassing pictorial field, where painting moves across architecture, gathers the landscape into the room, and unfolds around the body in motion.Green extends across the walls and floor, carrying the image over corners, seams, and changes in plane. The room becomes both the surface of the painting and the spatial structure through which it is encountered.
The painting is made directly on the architecture, the studio walls and floor become the work’s material support, scale, and boundary. The painting’s form is inseparable from the proportions of the room, its beams, openings, corners, and relationship to the surrounding landscape. It cannot be transferred intact into another gallery or museum; to relocate it would be to remake it. Its continued existence is therefore bound to the place in which it was produced.
This attachment to the site changes the relationship between viewer and artwork. There is no single position from which the painting can be apprehended as a whole. The viewer must enter it, cross it, and turn within it, becoming a moving figure against the painted ground. Perception unfolds through the body, with each shift in position producing a different relationship among painted surface, architectural structure, and surrounding space.
The repeated white forms organize this movement. Distributed across the walls and floor, they establish rhythms, directions, and intervals that guide the eye through the room. They gather and disperse attention, drawing the viewer across the painted field while making the architecture newly perceptible. Corners alter their trajectories, beams divide their movement, and windows and doors redirect the gaze beyond the painted interior.
Through these openings, the surrounding landscape remains active within the experience of the work. The relationship between interior and exterior is continually staged as attention moves between painted enclosure and the fields, woods, light, and water outside. The architecture frames these transitions, allowing the work to concentrate perception while also directing it outward.
Painting becomes an encompassing spatial condition rather than an image encountered from a distance. The viewer occupies the work as both its observer and one of its figures, held within a saturated field of color, movement, and shifting perspective. Meaning emerges through this encounter: through the way the work positions the body, directs attention, and binds the experience of painting to a particular architecture and place.
