These painting (my more traditional works that I have been doing since 2003) are made by creating a surface that is built up of 15-30 layers. I make the paint with powdered pigments (mica, organic, inorganic pigments all kinds of pigment), mixed with Urethane and paint with brush in thin layers on aluminum sheets. The use of aerosolized paint is also introduced as a layer of translucency. I sometimes embed pure silver (or gold) powder. The aluminum is an industrial material used in buildings and other industrial realms. A hard line is introduced as a footprint of human interaction with nature, creating a familiar perspective. These paintings investigate a redefining of the void in nature, adding a line centralizes the viewer in a perspective to contemplate spatial separation. The horizon line separates two masses in the painting, creating an event that is defined by a natural state combined with a linear displacement. I use the horizon as an element of reference. The horizon is a safe perspective to see nature's unfolding, it is a static within a transient natural world. The horizon anchors the viewer and is familiar and grounding, a terra firma or sense of familiarity, it is also examining the pressure between the natural world and the introduced human-made linear/grid. The paintings investigate an introducing of the human element into the natural, disrupting the void of nature and are an extraction of organic forms combined with geometries of human interaction.