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.

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?

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

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.

Artworks, whether fiction, music, or painting, because they have the power and possibility to become truth, when repeated enough or told enough are somehow truth about what America is, whether they were or not.

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.

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