The drawing series, And all is always now, expands my vocabulary of mark-making with the addition of more pronounced visual punctuation. The gestural stops are loosely connected by faint charcoal lines, and set in motion across the field.
2020 was a year marked by a particularly intense preoccupation with drawing, leading to a rapid evolution of the work. The graphite and oil pastel drawings of Uncharted Reticulations emerged from that exploration. Although networks of lines have been present in my drawings for quite some time, the graphite field overlaid with vermillion oil pastel […]
“There is only the dance” (2019) is a suite of charcoal drawings that manifested a significant shift in my mark-making. Unlike earlier series, the gestures are more staccato and discontinuous. The drawings were executed rapidly and then put aside with any further adjustments. While the gestures appear to reference forms in nature, these drawings are […]
The drawings of “Pavane” (2017) are rooted in intertwined connections to classical music and modern dance. Leisurely movements prompted by recollections of music were transformed into the pair of conté crayon lines that move slowly through each drawing. Once drawn, the lines were merged into the field by gently rubbing them into the charcoal.
The small charcoal and conté crayon drawings of “Traveling the line” (2016) were an exploration of how a line might interact with the edge of a field.
The charcoal drawings of “Tracing Stillness” (2015) are breath made manifest through gesture. The series continued my process of making marks through erasure (see “Tangle”), but with an emphasis on restraint, rather than complexity. Dense layers of charcoal were rubbed into museum board, creating a dark field. With no intention beyond limiting the drawing to […]