In this series of works, historical materials like 18th Century merchant ledgers, venture tourism steamships, and the photos and company charters of the Boston Fruit Company (later, the United Fruit Company), speak to us of the economic waterways connecting trade, banking, and financial instruments of the American Northeast to other slave societies of the Caribbean and Atlantic world. In this painted world, spaces across geographical relations are layered, tethered by shared social and ecological histories, possibility, and longing. The settler landscape becomes unsettled, while figures emerge in the shadow of grasses to confront each other or sometimes hold each other. Often situated close to the foreground, the lawn becomes a stage or interstitial space, filled with historical remnants, overgrowth, and folds of blue fabric that look sometimes like rolls of colonial indigo textiles and sometimes like blue plastic tarpaulin, a material that reminds us of both endless development and its aftermath. In these works the lawn delineates a politics of middle distance — both foreground and background, you stand on it and walk in between it, only sometimes thinking about the kinds of erasure the space bears witness to.