Stores are the same everywhere; small downtowns are done. Not just in America, but globally. You hear the same music on every station, all our building materials look the same, and all our clothes look the same. But I thought that it couldn't be that simple, because Arizona is not Minnesota. There is this other reality, which is a reality of landscape.

For me, going back to itinerant landscape painting, it's not about returning to an older method, but about building on what happened in the 20th century in photography. And also highlighting what the differences are between a painting and a photograph in picturing space.

There are many options for how images can aggregate not to nihilism, but to significance, or to meaning.

I could name many women who travel or who work with America as a theme. I think it was more not being able to name canonical women, whose work is part of the American canon.

On a surface level, regionalism is gone, if we define regionalism as human culture. But, what if we define regionalism as something older than human culture?

Now, at a moment when photography is so pervasive that it's been forced to grapple with its own identity and look inward, it feels like a natural moment for painting to look out, to reclaim that directive of picturing America.

Stores are the same everywhere; small downtowns are done. Not just in America, but globally. You hear the same music on every station, all our building materials look the same, and all our clothes look the same. But I thought that it couldn't be that simple, because Arizona is not Minnesota. There is this other reality, which is a reality of landscape.