In the summer of 2004 I returned to the outdoors to create performance work, and I took paint with me. I was grappling with the notion that my primary material, paint, will essentially linger around forever on the earth. I had to accept this fact in order to continue using paint or else I had to stop using it. I decided to confront this problem directly through performance work which left paint behind in natural settings. Despite knowing that the scale of this work was still far too small to cause any real environmental damage, the choice to be a willful practitioner of environmental poisoning was still poignant for me, as I hoped it would be for onlookers. It was important for me to try to embody this part of humanity that is at odds with nature so that I might better understand it. Over time, perhaps the most compelling feature of this work for me is the photographic record, in which paint and digital image manipulation transforms both skin and bark to become, ironically, even more organic.