My paintings unbury the site of American homicidal violence. The image sits atop a layering of modeling paste, marble dust, paper, wood, and canvas. The sheep, the chickens, the cows all are attractive- they are fluffy and mostly white, inhabiting, and frequently becoming, the landscape which is full and expansive, pushing the sky up into a choked state in the composition. Through the act of sanding, scraping, drawing, and painting, the final image is achieved and in its ideal American-West Farm-scape, the question is posed: what is underneath all of that dirt and grass? Who covered it up? Who does the body belong to? The farm animal bodies, their orientation, and demeanor, are evidence of a landscape’s behavior. They are a means to observe and dissect the method of executing a violent act, the fact of the female body as a target, and the violence of thecover-up. My decision to continue this layout through the body of work was informed by the Baroque Dutch landscapes that often admired the never-ending sky, which was an intentional point of national pride representative of Netherlands freedom. In the same vein, the American open road and open, rolling land is a fact of American identity. Each painting is a site, after it has been dominated and forced into the position of witness, and exposes an American routine.