During Covid, I found the Connecticut woods a haven for daily walking, thinking, and observing, and the imagery seeped into my studio practice. Photographs of local forests, a portrait of an ancient tree in Japan, and a hundred-and-fifty-year-old Weeping European Beech in New London were the first images I turned into cyanotypes as grounds for small paintings. The resulting striped paintings use color and pattern to obscure the landscape, suggesting the effects of climate change, deforestation, and forest degradation. The visual elements of color and pattern also reference the forest walking that embodies concepts of time, sequence, and rhythm. In this series, walking has become part of my methodology as it reveals a layered experience that ranges from a meditative act to developing a dialog between my art and the environment.