Statement (Main) 
My art questions what a drawing is and how it can affect thinking. Works are composed of marks that are signs of time and, referencing artist Avis Newman, thought. I take an interdisciplinary approach to expand the concept of drawing. Eastern philosophy, metaphor, time, physics, and the everyday experience are influences. I work responsively between all of these entities. That is where experimentation happens and the medium opens to what it can be.

Traditional drawing is a rendering of a 3D subject on a two-dimensional surface. I am interested in an unconventional, organic approach that moves fluidly between mediums and dimensions. The diverse approaches taken; installations, spatial constructions, works on paper, and blogging; end up informing and redeveloping each other over time. This invites more questions about the nature of the medium. 

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 has led to an interest in the relationship between drawing and time. How is time experienced when mark making?  Concurrently, how can a site affect a drawing? Various philosophies, particularly Taoism, inform and guide my practice. It encourages forming perspectives from an even place. Quantum Physics assists in visualizing time at the quantum level and how the medium can manifest in multitudes of ways. More recent series have begun exploring the relationship between drawing and daily life.

In my work, marks are generic and nondescript. These qualities leave them open for interpretation, as they suggest rather than show, becoming undefinable metaphors. Drawings grow out of light and shadow and in response to their surroundings. I mark or record shadows in relation to architecture and geometric forms. Light, when interacting with a building or 3D structure, turns into shapes that shift in form as it moves. This action becomes an entry point into a drawing. 

Tracing and recording shadows bridges the internal world of thought with the external happenings of my surroundings. Marking their movement leads me to experience the ephemeral and encourages keen observation and reflection.  Engagement in this practice over time leads to surprising microscopic and macrocosmic interconnections and alignments. Unexpected formal dialogues emerge from the process that piques curiosity to see what happens next. 

Resulting works are frameworks of consideration.

Current Series:

“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 numbers. 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.

Drawing and Daily Life:

How can drawing merge with the everyday to see and experience both in unusual and surprising ways?

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 upon urban architecture. The images question 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.

Installations

Much like Sight Drawings, current installations focus on temporality and the interplay of light and shadow upon architecture or geometric structures. Works explore how drawings can develop from this everyday phenomenon. 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. Times are recorded in titles. 

Walking Drawings

I began Walking Drawings as part of a project called Passing Through, orchestrated by artist Sarah Tutt. The project centered around mapping the lines seen when walking the same urban route twelve times.

I found the activity aligned with interests in merging drawing with daily life as well as interests in mark making and thought. I am continuing to walk and draw during the in-between moments of a day. These include when running errands and taking walks after work. Mark making during these mundane activities is giving a new perspective on the link between drawing and thinking and how to experience the medium.

Past Series:

Progressions

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.

The works on paper, Progression(s), are reductive still lifes of Conglomerates. They pull out the darkest darks and lightest lights, revealing shadow pathways, becoming metaphors for distilled thoughts. Varying degrees of information are given in each work to decipher form. This removes them from their original context and opens the images to new avenues of interpretation.

The shapes, lines, and tones in the Conglomerate photographs also inspired the series of drawings; Shuffling(s) and Reshuffling(s). While reading Carlo Rovelli’s The Order of Time, I began to question what happens to forms in the quantum world. Rovelli writes about time at the quantum level where the past, present, and future are blurred, a space between time. In a very literal interpretation of this concept, I began to project and overlay several digital images of Conglomerates and drew them on top of each other with line. The resulting shapes were painted in various shades of gray or black. Resulting forms appear to fracture and unite all at once, like thoughts in flux. Unforeseen harmonies and alignments emerge from the process.

Installations/Conglomerates
Using ordinary construction materials such as tiles, shelves, and molding...works 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).