Over the course of these past two years I have begun to reflect on my nature paintings as both scientific and spiritual explorations of surface, color, and movement. The reference images I take with my digital camera allow me to zoom into a pixelated world of color that the naked eye does not see. This scientific discovery only makes the work of the Seurat and the Impressionists even more brilliant because they invented these color theories before they could be proven by magnification. No matter where you look a one inch squares showcases more variety than ever could be imagined by George or Claude or Mondrian. It is invigorating to now see all of these familiar places I paint over and again in a new context. As I mix my 20 different tints and shades and saturations of green and then dot, dot dash hours away to create a shimmering surface of light and color that fuse into a structure that is both scientifically based and spiritual transcendent, I prove to myself that the two are not mutually exclusive from each other.