Summer spent at the edge of a pond that comes from a bay

that comes from an ocean that's rising up to reclaim its shores

where surface Images play wind, air, and matter at the speed of stillness and

the insistence of the tides.


The painted scrolls invert a notion of Chinese landscape. Inked space and empty glyphs are subjective timelines, flux and fusion on a summer pond.

Alewa Land documents
multi-layered transference.
Surfaces, painted gestures
and their shadows
become place in a glass darkly.

These collages are pattern details and tracings of nature,
on the way to an imaginary unlikely written one.

They say that Ts’ang Chieh composed the first Chinese characters by observing the natural world. And after they were completed, rice fell from the skies and ghosts wailed through the night because spirits could no longer hide their shapes.

IN_RA_IN is a series of digital prints making visible what was not.

Recording and amplifying rain requires a little technology, but working with water is always making a painting for me.

The prints in that sense are paintings of patterns––phrases I'd like to read that continue my search for a language not yet written.


IN_RA_IN images are transitory shapes of atmosphere. Sequenced and re-edited they assume mass.


Working by candlelight during Hurricane Sandy.


Not exactly a system of notation but a way to translate sounds visually and attenuate their pleasures. These are improvised marks to accompany birds singing on Cape Cod mornings.