In the ‘Abstracted Realism’ series, abstraction is integral to the construction of realism. Drawing primarily on the landscapes and built environments of Northern California, the series examines how abstract and semi-abstract forms such as chromatic planes, simplified contours, and precisely bounded areas of color can cohere into images that read as realistic in a contemporary visual culture shaped by digital imaging and photography. At first glance, many of the paintings appear highly realistic, yet they are developed through abstraction. Instead of relying on continuous tonal transitions to model form, I build the paintings from clearly articulated chromatic planes separated by precise boundaries. Form emerges from the relationships between adjacent areas of color. The method recalls the structure of cloisonné enamel, where clear boundaries keep fields of color distinct. In the paintings, these separate chromatic zones retain their clarity and intensity while together producing depth and volume. Across the series, the scale of abstraction shifts: broad planes organize architecture and infrastructure, while smaller patterned marks articulate vegetation, water, and atmosphere. The abstract structure remains visible within the realism. Simplified forms and chromatic planes combine to create images that can appear photographic or digitally constructed from a distance. At closer range, their hand-painted character becomes evident. This shift from immediate recognition to close inspection reveals the choices that shape the image. I reconstruct the heightened clarity, sharply defined forms, and visual intensity of contemporary image culture in paint, giving these qualities a material form. In Abstracted Realism, realism becomes a carefully constructed visual language: a deliberate organization of color, light, form, and boundaries through which the surrounding world becomes legible.
