The paintings in this ongoing series number in the hundreds and have as much in common with diagrams, illustrations, and illuminations as with “drawings” or “paintings.”   They serve me as an immediate outlet for visual ideas, as an arena where I can set a microcosm of processes and forms into motion for the sheer pleasure of seeing how they play out together. They are many things simultaneously: straightforward landscape paintings, hopelessly convoluted maps, wry abstractions, meditations on spatial ambiguities, essays in unlikely art historical and cultural collisions, and so on.   Collectively they constitute a kind of imaginary atlas.