I have done some reading about Renaissance science, and the beginnings of an attempt to make a rational order of things based on their visual appearance. Early bestiaries and horticultural references are records of attempts to order nature according to our vision of it. This quintessentially human attempt ties in to our phenomenological process and to much of the history of artistic renderings as well. 
In this body of work I seek to make these references clear yet still retain an intuitive and emotional basis to the work. I want the images to resonate with the beauty of what is seen, interpreted in light of its taxonomic order, yet still felt as an immanent presence, in a complex context whose meaning cannot be reduced to a place in a map. Many of my taxonomies are folk taxonomies, built from quirky plays on the concept of taxonomy, which is itself under a scientific cloud arising from newer ways of thinking about deep scientific relationships. The paintings are quasi-realistic, that is they are recognizable objects but in indeterminate spatial settings or in implausible conjunctions. Some of those odd relationships arise because I continue to incorporate levels of representation, especially those from paintings quoted within the paintings. Those quoted subjects can be drawn from plant and animal studies, from old bestiaries, herbals and codices as well as from paintings.
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