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.

We talk often about being in a media-saturated society, and we are surrounded by image streams. But it's nihilistic. There's a real randomness to all of it.

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.

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?

Depiction can override truth the same way that memory can override experience.

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.