Sequence of Drawings from my video series, "Twenty Seconds of Change," which explores impermanence in the movement of mud swirling around in water.
view larger        max size
Graphite on Reeves BFK
52' x 32' in
<< back         view
I do the work I do because it allows me to explore the questions I have in Life. Recently my investigation has led me into entering into the subterranean or, threatening emotions with curiosity, to see how I can hold them as equally as their pleasant or, neutral counterparts. The sublime, the potential to express these experiences in us, is the medium for reflecting the ever shifting range of these feelings. My intention is to cultivate a paradigm shift that breaks from Romanticization which projects these feelings onto the landscape and rather allows the process and experience to reveal to me things in their impersonal state.

Inquiry leads me to play with materials allowing my intuition to guide me into the previously unknown. I choose transparent watercolor, ink and oil for their capacity to capture the fleeting patterns of light which exist only in relation to the shadows of the dark. The mediums viscosity which pools, swirls and drips embraces formlessness; when layered, the paint can be molded, scraped and scratched into it’s opposite, building up density, texture and form. I also use graphite which can be rubbed, smudged and erased into “nothingness” while remaining a tool for mark-making whose properties can render texture and depth through a complete tonal range. All these qualities of my selected materials enable me to explore the themes of temporality and impermanence.

Moving away from the path of looking at form as in front of or, behind me, I have found myself inside of it. Recently I have begun investigating the landscape in motion through moving images, as embodied in video art. Deeply committed to drawing and painting, I have begun working back and forth between these media with video to open up a dialectic between structure and meaning. With video there is an excitement in the experience available through the immediacy of real time feedback; in drawing there is the slowing down of the direct experience. My exploration is to reveal the non-dualistic nature of things such as in the traditional medium of drawing and painting in relation to its technological counterparts.