Through the influence of both eastern and western cultures, philosophies, and practices, Ted creates paintings that explore the transitory nature of landscape. Drawing from his background and experience in eastern culture he uses industrial materials such as steel, aluminum, acids, and automotive enamel to create landscapes that simultaneously feel strong and illusive. The austere nature of his materials are softened and rendered into contemplative spaces. Using sumi ink and rice paper each piece is begun employing a chance driven process based on a traditional style of Chinese landscape painting. The monk Wong Mo pioneered this method (the Pomo method) during the T’iang dynasty (618- 906 AD). To this foundation he adds various combinations of painting methods that include, but are not limited to, the use of acrylic paint, epoxy glazes and automotive paint to create a hybrid of Eastern and Western techniques. With the addition of other elements such as the bar codes, binary codes and geometric shapes, the modern is persuaded to co-exist with the ancient. The combination of the abstract organic spaces created by the ink, and the more formal modern elements, helps coerce a visual dialogue between nature and its filtration through technology. In doing so, Ted dissects ideas of censorship, diversion, and manipulation, which are themes that he continues to explore. This work manifested after an intensive study of landscape painting in China in 2000.

A graduate of the San Francisco Art Institute, Ted is 35, lives in Gainesville, and when not in his studio he can be found riding or fixing his bikes and small engine vehicles.

Through the influence of both eastern and western cultures, philosophies, and practices, Ted creates paintings that explore the transitory nature of landscape. Drawing from his background and experience in eastern culture he uses industrial materials such as steel, aluminum, acids, and automotive enamel to create landscapes that simultaneously feel strong and illusive. The austere nature of his materials are softened and rendered into contemplative spaces.

Using sumi ink and rice paper each piece is begun employing a chance driven process based on a traditional style of Chinese landscape painting. The monk Wong Mo pioneered this method (the Pomo method) during the T’iang dynasty (618- 906 AD). To this foundation he adds various combinations of painting methods that include, but are not limited to, the use of acrylic paint, epoxy glazes and automotive paint to create a hybrid of Eastern and Western techniques. With the addition of other elements such as the bar codes, binary codes and geometric shapes, the modern is persuaded to co-exist with the ancient. The combination of the abstract organic spaces created by the ink, and the more formal modern elements, helps coerce a visual dialogue between nature and its filtration through technology. In doing so, Ted dissects ideas of censorship, diversion, and manipulation, which are themes that he continues to explore.This work manifested after an intensive study of landscape painting in China in 2000.

A graduate of the San Francisco Art Institute, Ted is 35, lives in Gainesville, and when not in his studio he can be found riding or fixing his bikes and small engine vehicles.