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.
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.
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
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.
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.