This series of pulp paintings began with a commission inspired by the Inner Banks of North Carolina. I spent long hours absorbing the look, feel, texture, and vastness of the water. Its hugeness—its shifting surface of wind and cloud stayed with me long after the original piece was completed. It continued to resurface in my work, finding new form and context.

The greens and blues of sky and water, constantly disturbed by wind and passing clouds, became embedded in my visual language. Back home in South Texas, those water images gradually transformed into open fields of swaying grasses beneath expansive skies that stretch toward the horizon. Green fields, camouflaged by drifting cloud shadows, dance and shift just as the water once did—a continuous palette of greens pulled and reshaped by current and wind.

Over time, this series has become less about specific geography and more about abstract perception—about what we see in the space above and below rather than what is physically present. Shadows and shifting shapes create their own version of reality, inviting the viewer into that space between observation and interpretation.