When I commence upon the exploration of marks and their subsequent densities, I am investigating containment and dispersal. Density arrives from the layering of pigments pushed through metal screening, coarse or delicate fabrics and stencils as I employ unexpected hand tools in order to interlock my materials. I utilize sawdust, dirt, rust, smoke, fireplace ash, pastel, gouache, ink, graphite, pencil and conte crayon. I choose either refined or rough papers with regard to the changing voice of material and paper.
I intend to seam tiers of pigment to one another until the density contradicts the notion that paper lies beneath. I am making the drawings though they appear unmade. Deliberately working within a restrained palette, I aim for an intimation of phosphorescence from my pigments and a dialogue between the indeterminate and the exactitude of my forms.
Recent work continues my consistent trajectory of surface to mark in order to arrive at near edgeless forms and spaces.
Is the drawing being formed or in the process of disintegration?
May a drawing simultaneously propose presence and absence?
Are the forms shaping yet regressing into shapelessness?
I deliberate these questions in my encounters with intention in drawing.