In the early 1990s, my grandparents planted thousands of loblolly pines and cedar trees on a small farm outside of Jackson, Mississippi. Today, I find the landscape embedded with apparitions of past selves. For me, pushing into a painting’s surface is an exercise in traversing psychological thresholds. Memories gather, forming poetic atmospheres of collapsed familial timelines. As a vehicle for self-investigation, painting allows me the opportunity to re-examine my relationship to family, masculinity, religion and spirituality, regional traditions, and art in service of a more intentional future. More specifically, in "Crossing the Threshold (Towncar)," my grandfather's death narrative becomes an entry point into thinking about time, memory, masculinity, and storytelling.