Statement (Main)

My art begins with the question "What is drawing?" I work between mediums and dimensions to expand the concept of drawing that includes installation and works on paper. To further this investigation, I explore the relationship between mark making, time, space, and thinking to see how they can affect and redevelop each other. Works are composed of marks that are signs of time and, referencing artist Avis Newman, thought. Observation, light and shadow, daily life, temporality, Martin Heidegger, and Eastern philosophy are influences. I work responsively in the space in-between all these entities. That is where experimentation happens and the medium opens to what it can be.

My interest in an expanded approach to drawing began in an undergraduate course called Experimental Mark Making. This led to a non-traditional, conceptually driven approach to the medium that has formally transpired into site specific and site response installations, spatial works, temporal activities, blogging, and curations.

Newman's statement, “A mark is a sign of thought.”, informs my Art on many levels. As the hand or body makes a line across paper or space, what happens inside the mind? This evolved to an interest in the relationship between drawing and time. How is time experienced when mark making? In Being and Time, philosopher Martin Heidegger writes, "Being and time determine each other reciprocally…." I question how the drawing process can factor into this dialogue. Furthermore, Taoism informs and guides my practice. Just as the lines of Lao Tze's Tao Te Ching refract to level each other, I aim to work from an even, balanced perspective.

The series Time Lines, In the Garden, and Walking Drawings are composed of shadow line tracings made in relation to shifting sunlight upon architecture and nature. This act of grounds works into surrounding happenings and creates a framework to expand a drawing. Marking shadow movement leads me to experience the ephemeral and encourages keen observation and reflection. Repeated tracings accumulate in these works, so over time, it can open to the unexpected and further response. Surprise alignments emerge leading to moments of epiphanic clarity.

In these series, time acts as a system of measurement and underlying structure for the growth of works and the thought processes experienced. Drawing sessions are done in set parameters. These affect how many tracings will be made in a composition, determining its form. Rendering in intervals allows for full engagement in mark making and thinking without distraction. It allows one to focus on a state of being when working rather than doing.

Resulting works are frameworks of consideration.

Recent Work:

Time Lines (Projections) Installation

The recent installation Time Lines (Projections) explores how dimensionality, architectural space, and time can affect the development of a drawing and thinking. Shadows cast by the sun coming through a window (in relation to architecture) along with projections of shadows are traced onto paper. 3D marks (made with dowels) are then interrelated with the 2D lines, creating a dialogue between dimensions and space. Works are then placed on the walls, floors, and corners of an environment to converse and see what happens next.

Walking Drawings

How can drawing merge with daily life to see and experience both in unusual and surprising ways?

In Walking Drawings, I engage in a responsive mark making process to record my surroundings while in flux. This activity encourages being fully present to the local environment as one passes through it. Marks are made on paper as the body bobs up and down to translate the experience. Drawing this way encourages “being” rather than “doing”. Over time, this process awakens the senses to not only see what is around, but to feel and become emersed in the sounds and textures. Recent works were created while walking among trees in the early spring. The lightness of the blooms and air flow were inspirations. This short series encourages one to take time to observe the local landscape and notice what is happening.

I am also interested in how these works can be documented on site and how that can offer unusual ways of creating installations and, in turn, experiencing the site. 

Past Work:

Sight Drawings

Sight Drawings are drawings seen in passing. They may share formal qualities, like line, and tone, with traditional works, or stir the imagination for new ones to come. No interventions are made. They are images of what could be.

The Shadows and Shimmer in the City series focuses on the interplay of light and shadow, seen as marks, upon urban architecture and how drawings can develop out of this often overlooked, everyday occurrence. Photos are taken when driving or walking around the city. Sometimes I seek them out while other times they find me.

Under Currents: Installations

Much like Sight Drawings, current installations focus on temporality and the interplay of light and shadow upon architecture or geometric structures. They grow out of moments in time; when light enters a window or peeps through the slits in a wooden deck. Interventions are made with small scale geometric materials like cinderblocks to stir a drawing into being. Shifts in lighting and shadow are documented. The resulting static. digital images contrast the movement of light.  

Between 0 and 1:

“All things are continually interacting with each other, and in doing so each bears the traces of that with which it has interacted:...”
― Carlo Rovelli, Seven Brief Lessons on Physics

The works on paper, Between 0 and 1, explore the link between drawing, time, and thinking at the quantum level. In that micro-world, myriad interactions occur in matter between these small numeric values. Works are made by tracing sunlight as it shifts in relation to architecture over several weeks. The accumulation of lines become a record of the sun’s tracks; metaphors for the ephemeral nature thought. Their interweaving calls for further responsive mark making. Epiphanic moments of clarity emerge when seemingly random lines align and harmonize.

Past Series:


How can dimensions and diverse media affect how a drawing develops? 

Progressions, Shuffling(s), and Reshufflings: Dialogue Between Dimensions:

The Progression(s) and Shuffling(s) series explore a dialogue between dimensions, media, and time to expand how to see and experience drawing. 

Conglomerate (Progressions) are photographs of geometric constructions built in relation to light and shadow. The term progressions alludes to successions of musical chords produced over time to stir harmonies. These constructions changed in form as sunlight shifted over the course of several hours on cement. Different stages of the activity were photographed and times are noted in the titles.


Using ordinary construction materials such as tiles, shelves, and from the Conglomerate series (2007-ongoing) occupy a space between drawing, sculpture, and architecture... the elements 'interact in "states of tension and flow'." (Margaret Winslow).