I began painting farming artifacts and machine culture while, ironically, living and working as an artist in Brooklyn, New York. From time to time I would visit Sacramento, and I began to paint outdoors in the delta – where I became increasingly aware of agricultural machines. They seemed like sculptural sentinels dotting the landscape, like a David Smith sculpture. One day in the delta, I started to paint the form of the tractor itself. The tractor manifested a powerful intimacy that suggested many secrets – especially the older tractors richly draped in rust and chipped paint. I felt they displayed a kind of insistent consciousness at work that resonated with me. As I continued to branch out, I painted other machines – and more advanced machines such as droids and half-human, half-machine composites.

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