Statement (Main) 
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 and space are central to this investigation to expand the concept of drawing. Influenced by Eastern philosophy, I work responsively “in between” these entities. It is there that experimentation can happen and the medium opens to what it can be.

Avis Newman's statement, “A mark is sign of thought.”, informs my work on many levels. First, it encourages me to concentrate on what is happening in my mind as I work. How does thinking form in relation to the movement of my hand or body? This has led to an interest in in the relationship between drawing and time. How is time experienced during the act of drawing? Does a thought end as a line stops? Concurrently, how can a site affect a drawing? I also am interested in how various philosophies, particularly Taoism, can inform and guide my practice. It encourages forming even perspectives from an in-between place.

Traditional drawing is a rendering of a 3D subject on a two-dimensional surface. In my work,  I am interested in an organic approach to drawing that moves fluidly between mediums and dimensions.  The diverse approaches taken; installations, spatial constructions, 2D work, and blogging; end up informing and redeveloping the other over time. This invites more questions about the nature of the medium. Drawings grow out of light and shadow and in response to their surroundings;. This invites unusual and unexpected formal dialogues that propel them into the unknown.

Resulting works become frameworks of consideration.


Current Series Progressions and Shuffling(s): 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 change 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 are photographed. The time each image was taken is noted in 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. 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) 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. Shuffling(s) 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 fractures in between time. Unforeseen harmonies and alignments emerge in from the process.




Installations/Conglomerates
Works are aligned with the tenets of Taoism, particularly the concept of non-hierarchy. In Eastern philosophy, non-hierarchy is explored through gender relations. The Tao is perpetuated by the interplay of opposites; male/female. The masculine is considered hard edged and closed while the female is open and without boundaries. Balance occurs between genders by yielding to the fluid feminine force.

These ideas are explored in installations through a series of interventions with shadow lines between small scale spatial 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).

Like opposites in the Tao, these structures form a symbiotic relationship with their environment to grow and are composed of the materials found there. Opposites come together and interplay in these works; soft and hard, rough and smooth, opaque and transparent. Marks are drawn on the different edges, materials, and space to interconnect shadow lines. This action spurs dialogues and levels the hierarchy between disparate materials and space. The drawing becomes a part of its environment rather than a separate entity. It can then fluctuate over time and keep growing.





Sight Drawings
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.