My painting practice explores how contemporary environments are increasingly experienced through elevated technological systems such as webcams, satellite imaging, and aerial mapping. I am particularly drawn to infrastructures embedded within landscapes such as coastlines, surveillance points, and networked cameras that quietly mediate how we see and understand the world. Using these systems as a source, I work with imagery drawn from live webcams and platforms like Google Earth to investigate two channels of vision. One is the live, continuously updating present, the other is the archived, accumulated past. Webcam feeds provide a form of degraded “now,” where images are low-resolution and constantly refreshed, while the historical layers of satellite mapping offer a delayed record of the landscape across time. Part of my process involves moving between the micro and macro scale and I use a variety of materials, but now primarily ink. It is a material with a long history in cartography, record-keeping and systems of documentation and control. There’s something about returning to it now, using it to trace images pulled from the very technologies that have replaced those old methods of seeing. My process is fast, instinctive and often resistant to precision, which feels appropriate for source material that is itself flickering, transient and never quite resolved. My work asks why aerial and live imaging has become such a dominant way of encountering the world today. What interests me is the strangeness of these images; how views produced through infrastructures tied to surveillance and military use have become ordinary, even pleasurable. We scroll through satellite maps for curiosity, for travel, for leisure and rarely think about what those systems were built to do. I’m not sure that contradiction ever fully resolves, and I don’t think the work tries to resolve it either. It just sits with it; the tension between observation and abstraction, immediacy and archive, and the automated and hand-held.