If I could make a painting without an ending, I would. As physical objects, paintings have restrictions, so I seek internal structures that do not. Patterns set in repeat, executed on a large scale, imply the infinite in my work. Since 2014, I have been developing a series of scrolls, usually thirty feet in length, based on patterns that mimic weavings and other forms of handiwork. The scrolls represent a harmony of opposites, a union of aesthetic traditions rooted in both craft and fine art contexts. Explicitly created on paper, a material structure that is accessible yet fragile, these scrolls are photographed in natural and constructed environments. Inside a parking garage or on a bed of snow, the scrolls become interwoven in a community and a specific setting, presenting alternative narratives about how paintings exist in this world.