In my art, I question 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 integral to this investigation to expand my notion of the medium. Influenced by Eastern philosophy, I aim to create “in between” these three entities (drawing, time, and space). It is there that experimentation can happen and a drawing 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 line stops? Can drawing affect time? 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, drawing becomes a tool to expand how I can experience the medium. I am interested in an open-ended approach to drawing that moves fluidly between mediums and dimensions. Rather than a finite entity hung on a wall to be viewed, my installations, spatial, and 2D works grow in response to their surroundings. This invites unusual formal dialogues that propel works into the unknown.
Resulting works become frameworks of consideration for what a drawing can be.
I align my works with the tenets of Taoism, particularly the concept 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. Coexistence between genders occurs 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 surroundings to grow. They are built on the floor and are composed of the materials found in their surroundings. Marks are drawn on the different edges, material (of the Conglomerates) and space to interconnect shadow lines and spur conversations. This action levels the drawing with the space and extends the drawing outward in all ways.
Current Series Progressions and Shuffling(s): Dialogue Between Dimensions:
The Progressions series explores a dialogue between dimensions, media, and time to expand how to see and experience drawing.
Conglomerate (Progressions), are composed of cement slabs and plexiglass (and sit on cement). The term relates to musical chord progressions produced over time to stir harmonies. Made in relation to shifting sunlight and shadows, they were constructed outside over the course of several days and/or hours. Shadow lines are observed and recorded on and from materials to mark shadow movements and extend the drawing activity. Different stages are photographed to record unexpected alignments.
The works on paper, Progressions, are a series of reductive still lifes created from single digital images of Conglomerates. They pull out the darkest darks and lightest lights, revealing shadow pathways.
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 taken within split econds. These are drawn on top of each other on a single peice of paper. Intersectng lines and shapes are then painted in various shades of gray. The resulting combinations of lines, shapes, and tones interact in states of entropic accord. Unforeseen harmonies and alignments emerge from the process.
Sight Drawings are observations of "drawings" seen in passing. 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, leaving to viewer to envision what happens next.