The “Joshua Tree” series started as fluid IPhone sketches. Using the “Pan mode” kinetically as a "Sketch tool,” I scanned the landscape with the IPhone, responding to the geology and topography of my surroundings as a visceral act, pivoting and moving in rhythm with the flowing lines of land and horizon. The IPhone sketches allow me to have a very responsive relationship to my surroundings. Then I re-shoot immediately the scene with my primary DSLR camera and splice, blend, clone, match and paint until I have rendered a much larger version of the ubiquitous IPhone process. This slow process seems akin to a more traditional method of landscape painting, where sketches are collected then the artist embarks upon the studio-based rendering. The trick of course is to retain the immediacy.

We move intuitively through the landscape, tracing hillsides rocky outcrops or city skylines, rhythmically with eye and body. Driving in a car is a particularly sculptural exchange with our environment. Carving lines that have been cut by man through nature, a road can undulate through smooth graceful landscapes, dipping, arching, and cambering through trees. We experience the movement, gravity and topography of our environment accentuated by union with the car, velocity and road. Using the panoramic mode similarly and kinetically I reenact this motion.

I have been looking for a new way to interact with and express the land and urbanscape for some time, using contemporary means. I feel this method opens literally and metaphorically a pathway into the environment that has been somewhat neglected of recent in the art world.