In my work, I engage in complex, intricate mark-making and paper-cutting to develop a simple form—the plane, the curve. My materials are diverse, yet they maintain common aesthetic qualities. Graphite, ink, litho crayon, steel, aluminum, and porcelain interact with Duralar, Yupo, and rag paper. These materials invite formal experimentation that juxtaposes rigidity and delicacy, bold strokes and fine detail. Despite their apparent differences, pieces created using these materials adhere to some formal commonalities (primarily black-and-white compositions, for example). This approach allows me to explore the formal implications of each material: a mark made with ink behaves differently from a similar mark made with litho crayon, as one wicks into the paper and one lies on the surface. Likewise, ink alone creates wildly dissimilar results on rag paper and on Duralar, a translucent but highly durable polyester surface. Formally, my work seeks simplicity and balance in the face of confusion.
Thematically, too, this work searches for elegance in adversity. It is rooted in a meditative, physiological response to the rhythmic sound of mark making or cutting on paper. Although these pieces are interested in time, imagined as lines arcing into the past and future, the sound of the mark or the cut anchors me in the present moment, creating a cycle. At the same time, the density of mark-making and layering of cut paper manifests the passage of time for the viewer by creating a sense of space and movement, like an expanding galaxy. Even in a two-dimensional drawing, then, ink lays over ink, building up pigment and texture and playing off the translucency of the paper to imply the third and fourth dimensions. These works grow by accretion and are often palimpsestic in that they become increasingly dense and layered over time. I am intrigued by memory as a human measurement of time, and the ways that we pluck and define our lives out of it. Therefore, these pieces may act as still frames, or cross-sections, of memory—a slice of experience represented in flux.
A consistent body of work represents a similar process of accumulation. The drawings are made to stand alone as finished work before being considered as part of a three-dimensional form. The sculptural forms are then crafted to the same standard before being considered for an installation. For a solo exhibition, an installation of this kind offers the opportunity to take the concept of connected parts to a higher level of formal consideration. Linked by process and conceptual parallels, the individual pieces will enter into conversation with one another to form a larger, unified whole. In this way, the installation will constitute yet another layer in the work’s consideration of time and space.