Neurologists have determined that the old brain holds the seat of our most primal understandings of the world. Goodwill, security, fear, anxiety, self-protection, gravity, sexuality, and compulsive behaviors generate from this lower cerebral core. I make sculpture and drawings that inhabit a non-verbal place, that resonate with such primal human emotions.
I am engaged in a creative process that arises from the relationship between semi-conscious thinking and time spent walking, time spent drawing. My newest work expounds on the direct connection between the pace of my step and the evolution of the work in both two and three dimensions. Thousands of lines are pulled across a pliant mat board and cast between walls while walking. I find context for my work within a tradition of other “walking artists” including William Wordsworth, Francis Alys, Rebecca Solnit, Richard Long, and Virginia Woolf. For me, walking is integral to making, as well as a space for social awareness and change.
I experience my studio life as a paced and daily conversation with place, in body and mind. From my studio in the Hudson River Valley, elements of light, space, and time coalesce. My drawings and installations generate fundamental questions about time, causality, and sequence. The work offers a visual and bodily experience that conjoins personal and abstract voices in a way that suggests that alchemy can exist in everyday life.
I’ve come to understand my work as a kind of self-portraiture. Within its reserve and formal abstraction is a strong impulse to speak from a deep place about what is private, vulnerable, fragile, and perceptive in the human condition. My work is a mirror of how I experience the world. It speaks to how I negotiate physicality, optics, and ideas. Through drawing languages, my voice withholds, blurs, teases, veils, and ultimately discloses.