This suite of paintings examines the varied features and highlights of an abandoned and contaminated trainyard in Eureka, California. They describe this particular site’s many surface disruptions and scarring by hydrocarbon and lead contamination, along with its apparatus of containment and clean-up. I am compelled by the formal and conceptual complexities and contradictions of places such as these, as well as by the ironic and amusing challenge of transforming an overlooked and even disagreeable site into a vista of pure aesthetic pleasure.
