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My work focuses on developing innovative approaches to new and traditional media. Every creative investigation I have embarked upon has informed the ideas that have come after it. As a graduate student I worked with sound in an effort to show how it played a vital role in constructing our understanding of landscape.

Working with sound changed the way I approached drawing and led me to develop the Left Right series, using both hands simultaneously to make marks on the paper. This new partnership between my two hands was a direct response to listening intensively with both ears. Because I was not completely in control of both hands I willingly invited marks onto the paper that I did not intentionally position.


During this time I began another collaborative drawing project with artist Paul Rodecker. We used drawing to communicate while I lived in New York City and he remained in Atlanta. We purchased identical sketchbooks that we mailed every month, continuing a drawing dialogue across this new distance. The sketchbooks were a place to experiment with new ideas and work inside a new drawing style – another way of introducing different elements that I could not control into my process to expand the scope of my work. 




Art is not just about expressing ideas. It is also about pushing the materials, the surfaces, and the mark. Drawing is the visual result of a physical action. I use this basic idea as the premise to forge a dialogue between the implement in my hand and the paper. My next major series, Findings, did not have a defined figurative subject or reference in the traditional sense; rather, the sketch of a loose unresolved pattern triggers the growth of new forms. I have implemented a “window technique” whereby I cover up the drawing and only work inside one small window or area at a time. I repeat this process by moving the window to different locations on the paper and alternating the shapes and sizes of the cutout window. The drawing is finished when the different moments in the work become connected and absorbed by each other, a completed network of events. 

My work underwent yet another pivotal transition. For Inferno, I employed many of the same techniques used for the Findings series. However the focus of the work shifted towards inventing complex structures that challenge how each section created from the window technique plays a role in building a cohesive unbroken subject – in this case, a jet engine. Commissioned for an exhibition based on Dante’s Inferno, I saw the 9 circles of hell in the blades, gears, and tubes of engines.

For my most recent work I have been transferring marks to the paper blindly, using transfer techniques, to create a starting point for the drawing that I could not make without this important first step. Because I cannot see the marks on the paper I am able to respond freely and honestly to shapes and patterns that emerge when I remove the paper. This initial network of marks is faint, but dense, and provides the raw material to uncover structures that lurks within the lines. I would like to explore new ways to activate the surfaces that that make up the beginning point for my drawings. I would like to collaborate with technology groups that can help me experiment with different ways my movements could be transferred to the surface whether through motion sensor technology or geo-mapping. Perhaps the movement of my stroke when I swim in the water or the flight path of airplanes crisscrossing the sky could be the launching off point for new work.  

Over the last 2 years I have focused on producing large-scale drawings that explore, construct, and deconstruct line. The size of the paper or surface, which at times exceeded 20 feet in length, immersed me in the drawings and simulated the experience of working in three-dimensions. Instead of drawing a line across a flat plane I felt as though I was standing inside pulling and connecting lines in the round. Ultimately, I wanted to broaden this idea by working with line that existed independently from its ground. I discovered a material that echoed the rhythm and movement I seek out in my mark making and I manipulated and shaped the forms in the same way I would in a drawing. Once I sculpted the lines, I examined the surface. Some of the works are coated with graphite to address their direct connection to lines taken from my drawings. Other works have been layered with rice paper allowing me to experiment with color and drawn lines melding into sculptural forms.