My art questions what a drawing is and how it can affect thinking. Works are composed of marks that, referencing artist Avis Newman, are "signs of thought". Time, space, and diverse media are central to this investigation to expand the concept of drawing. Influenced by Eastern philosophy and physics, I work responsively between 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 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? Can it cause the mind to transcend time? Concurrently, how can a site affect a drawing? Various philosophies, particularly Taoism, inform and guide my practice. It encourages forming perspective from an even place. Quantum Physics assists in visualizing time at the quantum level.
In my work, marks are generic and nondescript. These qualities leave them open for interpretation, as they suggest rather than show. Drawings grow out of light and shadow and in response to their surroundings. I mark or record shadow lines (cast from geometric structures that I find or build) that move in relation to the sun. In works on paper, they are made with traditional materials while installations feature unconventional approaches like cement slabs and tape.
Marking shadows bridges the internal world of thought with the external happenings of my surroundings. Tracing their movements leads me to experience the ephemeral and encourages keen observation of the microscopic and macrocosmic. Unexpected formal dialogues emerge from the process that propel a drawing into the unknown.
Resulting works are frameworks of consideration.
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 made in response to light and shadow movements. The term progressions relates to successions of musical chords produced over time to stir harmonies. These constructions changed in form in relation to shifting sunlight over the course of several hours. Shadow lines were recorded to mark movements. Different stages of the activity were photographed. The time each image was taken is noted in titles as a form of measurement.
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.
Shuffling(s) and Reshuffling(s) works on paper are created in response to concepts explored in theoretical physicist Carlo Rovelli’s The Order of Time. Rovelli writes about time at the quantum level where the past, present, and future are blurred. These series are generated from multiple overlays of digital images of Conglomerates that were taken within seconds of each other. They are drawn on top of each other with line. The resulting shapes are painted in various shades of gray. Forms fracture, like thoughts in flux, in between time. Unforeseen harmonies and alignments emerge in from the process.
Spatial works are aligned with the tenets of Taoism, particularly the concept of non-hierarchy.
These ideas are explored in installations through a series of interventions with shadow lines between small scale 3D works, Conglomerates, and a space at large. "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).
Sight Drawings are observations of "drawings" found in everyday life. They may share formal qualities, like line and shadow, with traditional works or stir the imagination to for new ones to come. No interventions are made. Taken with an iPhone, they are responses to what could be.