Painting the natural world extends so many wonderous experiences of connectivity while, at the same time, reminds that it’s fundamental concern is one of disjunction and disruption. At the threshold between those forces of an observed reality and the resolution of an invented world are infinite arrangements and possibilities for painting, and clues to the enduring modern puzzle of figuration and abstraction. Hartley is one of our artist forebears who puzzled over similar concerns. Here, I've painted my own version of Marsden Hartley’s Robinhood Cove (1938) over a monograph of his collected works from the 1980s. The “Re-cover" project became a vehicle of both connection (earlier this summer I went to Robinhood Cove in Georgetown, Maine to work), and, more significantly, of disruption—only part of Hartley’s name remains visible on the spine of the otherwise permanently closed book.