Ontology is a central theme throughout my work because it deals with the nature of existence or being by analyzing concepts about location, time, space, and identity. Geology, geography and especially cartography provide me with useful languages to manipulate and transform these ontological concepts into visual metaphors. These metaphors are often used to convey ideas, feelings or emotions about a place, process, movement, perception or state of being.

The Ontological Surveillance Drone video series is derived from iPhone "fly-overs" of my Ontological Road Maps series and other drawings. Surveillance is the "continuous observation of a place, person, group, or ongoing activity in order to gather information." A drone is a low monotonous audible tone, but also defined as "an uncrewed aircraft or vessel guided by remote control or onboard computers"…a seemingly anonymous voyeur or attacker…the ultimate movable Panopticon. The juxtaposing of these concepts has multiple implications both benign and malign, for example, self-awareness or spying. However, the ultimate aim of both surveillance and mechanical drones is control by individuals, governments or corporations.

In the Geologic Abstractions series I downloaded from the Internet images of historical maps from the 19th and early 20th centuries of geologic structures of the given area of land. Using the colors from the maps themselves and deleting all other information in the maps these painting-like abstractions were revealed. The titles are taken directly from the maps and offer the only hint at the actual location in the maps. These found two-dimensional representations of three-dimensional space are rectified readymades and are snapshots of geologic time.

The Oblique Ontological Terrain series developed out of finding an oblique map atlas on-line published by the USGS in the 1970s. I redrew and enlarged sections of these maps by hand (pen and ink) while looking at them on my iPad. The definitions of the words in the title and the undulating mountainous terrains seemed to intersect perfectly with the isolation of Covid 19 lock-downs and tumultuous social upheaval of our time.

A matrix is, as defined by Merriam-Webster, “something within or from which something else originates, develops, or takes form”. These paintings on paper are extreme detail images of the Ontological Road Maps, enlarged in Photoshop, projected and painted. So, they are derived from other work. Ontology is a central theme throughout my work because it deals with the nature of existence or being by analyzing concepts about location, time, space, and identity. Geology, geography and especially cartography provide me with useful languages to manipulate and transform these ontological concepts into visual metaphors. These metaphors are often used to convey ideas, feelings or emotions about a place, process, movement, perception or state of being. 

Contour lines on a topographic map are imaginary lines connecting points on the map that have the same elevation on the surface of the land above or below mean sea level. These found abstractions taken from the US Geological Survey's 7½ Minute Series reveal natural and man-made shapes and patterns of each landscape at the time each map was drawn. I begin in the top left corner with black and alternate black and white, filling in the space between the contour lines, until I reach the lower right corner. The titles are taken directly from the maps themselves. 

The Ontological Surveillance Drone series of photographs developed out of a video I made with my iPhone of a graphite on paper drawing. It is a more contemporary and technology driven variation on my earlier Ontological Surveillance Map series, which use blown up detail image of the drawing to mimic the “insets” of traditional cartography. The Drone series reflects my interest in and paranoia of both government and corporate surveillance of our private lives.

Surface Analysis maps are made by the National Oceanic and Atmospheric Administration (NOAA) which detail surface conditions of North America. These maps are published every three hours of every day. I downloaded high resolution maps from the NOAA website and reduced the images to just the isobar lines and then layered the eight maps published each day. The titles and color of the lines are taken from each map.

In the Geologic Abstractions series I downloaded from the Internet images of historical maps from the 19^th and early 20^th centuries of geologic structures of the given area of land. Using the colors from the maps themselves and deleting all other information in the maps these painting-like abstractions were revealed. The titles are taken directly from the maps and offer the only hint at the actual location in the maps.

These gouache on paper paintings are made while looking at “street views” from Google Maps of locations that I have visited or grew up near. They are about memory, nostalgia and a tongue and cheek play on plein air landscape painting.

Influenced by maps from art history books of ancient settlements and the drawings and observations in Edmund N. Bacon’s Design of Cities the Plans series of fictional neighborhoods developed from a sketchbook made during a period where my time working in the studio was limited. The drawings necessarily needed to be faster and less obsessively detailed than the other drawing series I have been engage in making for the last 18 years. Simply put, the Plans series uses a cartographic-like vernacular as a compositional language. There are only a couple of rules that I generally follow but other than those each drawing is an organic process of action and reaction that begins at a random point on the paper.

Ontology is a central theme throughout my work because it deals with the nature of existence or being by analyzing concepts about location, time, space, and identity. Geology, geography and especially cartography provide me with useful languages to manipulate and transform these ontological concepts into visual metaphors. These metaphors are often used to convey ideas, feelings or emotions about a place, process, movement, perception or state of being. Each Ontological Road Map is not only a finished work that represents a fictional place, but it is also a reflection of the hand of the artist, the act of making lines. Each of these drawings involves a labor-intensive process where much time is needed for construction and development. Once the drawing is complete, it is a picture of time. That is, each drawing reveals the time it takes to make a road map and then each finished drawing actually represents that time. All along, there is a literal play on mapping. Each drawing represents a process (of mapmaking, of creating roads) and a place (a representation of existence that can be either real or imagined).

Like the Ontological Road Maps the Surveillance Maps begin with the order and structure of a New World city grid and gradually "build" outward into the convoluted confusion of the urban sprawl of twenty-first century cities in the United States. The Surveillance Maps consist of two panels. One panel an Ontological Road Map (ink on paper) and the other panel is a painting (gouache on paper) of a projected digital detail photograph of the road map. These two panels are then juxtaposed, resulting in the completed diptych. These pieces are an alteration of a  traditional cartographic convention of an “inset”, which is “a small graphic representation (such as a map or picture) set within a larger one.” However, an inset is also “a place where something flows in.”

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