IDAHO, 2009

My paintings are created from images of Idaho water systems: Silver and Loving Creek, and the Clearwater, Salmon, Coeur d'Alene, and Snake Rivers. I digitally alter these images, print them on digital transfers, and mount them between mirror and glass. The mirror on the backside reflects light, illuminating the piece.

I layer the glass surface with paint and text. I apply paint, then handwrite text about Idaho's history, its rivers, people, and poetry into this layer. Once dry, I sand it away and repeat this process 20 to 30 times. The final surface is created by what's left behind, replicating how history, though not always visible, leaves traces that shape our experience.

This body of work examines place and home. I'm fascinated by how landscape affects our perception and understanding of the world. My paintings reflect on history - both my personal history and that of a place. Using mirrors and light to illuminate place and history has been an ongoing metaphor in my work.

My studies on the history of place have evolved into an ongoing project about sites of war and hate across the American West. The drawings of the White Bird battlefield in Central Idaho, the first battle of the 1877 Nez Perce War, accompany my history. I photographed this battlefield on a quiet, cold November day. I often stop at historical sites and tour battlegrounds with my daughter, Murphy Kendall.

These drawings interweave images of the battlefield with Cavalry documents and Nez Perce legends. I create the text digitally and apply it using transfer lettering. Each letter is transferred, gently wiped away, and reapplied until I achieve the right weight and proportion. The drawings become slightly worn as my hand crosses the surface numerous times - I intend them to be imperfect. I coat the finished drawings with wax for protection and treat them as three-dimensional objects.

Through these drawings, I attempt to understand history, compare stories, and offer a reflection on the past. My search isn't about finding definitive answers, but understanding how our fading history shapes us as a culture.