The original spark for my most recent series of paintings was a piece I made back in 2003 titled Three Views of the Cuban Missile Crisis. It was a semiabstract triptych based on three satellite photographs of the Cuban Missile Crisis. This painting signaled a shift away from my previous work, the moment in which I began to track politically influenced, man-made marks etched on the surface of the earth.

At the time, I was reading Manuel De Landa's A Thousand Years of Nonlinear History (1997), which compares the development of history to a dynamic living tissue in a constant state of destruction and renewal. Organ-like agencies and circulatory-like systems, according to De Landa, develop and deteriorate in line with geopolitical shifts in power. While examining the satellite images of the Cuban Missile Crisis, it struck me that marks left...

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