My egg tempera paintings explore the afterlife. Each is expressed as a portal or threshold between one version of a place and another. In looking for a language to explain that which sits beyond knowing, I’ve constructed an aperture in the landscape to many points triangulated in space and time. The closer these places come to holding together visually, the more obvious and explicit their emptiness or relativity. Drawing inspiration from Avebury, a neolithic henge in southern England, these pictures are puzzles of literally what’s not there in a document, reflected over and over for the viewer at the moment of looking. In this way, I attempt to upend the conventions of landscape painting and the sublime to focus on everyday mysteries about death—how we live with it and how the enormity of someone’s life can coexist with the hole of their nonbeing.