Artist Statement My current body of work draws inspiration from this new digital landscape and its ability

to effect the way we see and experience the world. I am also interested the intersection between art history, privacy, myth/ legend and technology. The "Street View" series is a body of work that draws imagery from Google Street View technology. In the tradition of plein aire painting I set out through the landscape searching for a subject. I am looking for something fantastic, or some anomaly, or something that will allow me to participate in a larger art historical dialogue. I currently live in Spring City Utah. A small quiet town of 900. In this town there are no fewer than 200 practicing and producing artists, artisans, and craftsmen. The strong majority of art being made in this rural town is landscape painting. This is the tradition in which I have chosen to participate. As my neighbors set out with small canvas and French eisel in hand I sit at my desk. As they hike around a predetermined area in search of the perfect composition I zip up and down street after street with only a few clicks of my mouse. In "Pigeon Hallow" I have found several things that interest me. First the deer carcasses. I remember seeing these deer everyday as I left for and returned home from work. In an attempt to subvert the traditional idilic pastoral landscapes that my contemporaries were painting the deer acted as a perfect metaphor for the death of the almost, Trancendentlist approach taken by my neighbors. What also drew me to this composition was the strong vertical division of the road and the emphasis of the classic yellow bar that also acts as a "zip", a reference to Barnett Newman, and by extension a modernist intervention in the pastoral landscape. In "Fryer House" I have positioned google's camera to include the house of one of my close artist friends to again reference the rich and expansive practice of landscape painting the area. The strange lens are at the top almost becomes a broad gestural mark that acts as a wall to mark the top of the traditional practice. In both paintings, and all paintings from this series, I want to represent the new digital landscape in which we all now live. Anyone with Internet access and general interest can tour Spring City and experience my landscape. Holding true to the digital source of my imagery I represent pixelised edges and lens distortion as they appear on the screen. For me this represents a new sort of abstraction, or Modernist ideal layered on top of the traditional landscape.