For over thirty years as a visual artist, I have been working within a broad definition of drawing. My work currently includes two-dimensional graphite and colored pencil drawings on mat board, composed of thousands of individual lines; and architecturally scaled, site-responsive installations made with volumes of fine chromatic thread pulled taut through space. While this work has a basis in abstraction, embedded within its formal and material language are concerns of time, sequence, and causality, and a drive to speak about what is private, vulnerable, fragile, and perceptive of the human condition.
I understand my studio work as a paced and daily conversation with place, manifesting and mirroring how I negotiate physicality, optics, and ideas. Each mark, color or line is simultaneously an action and a response; a moment, a thought, a leap of faith, and a record of that leap. Works unfold at the pace of my step, as I pull thousands of lines across a pliant mat board or cast them between walls while walking. I find context for my work within a long tradition of other “walking artists” including William Wordsworth, Helen Mirra, Rebecca Solnit, and Virginia Woolf. Like these artists, philosophers and writers, I use walking as time to encourage a fluid state of perceptions, to contemplate place, and to affect change and adaptation as it informs incremental, moment-to-moment decisions in the making of my work.
I consider context, whether with a specific site, in conversation with other artists and conceptual frameworks, as a compass and a tool for enhancing intensities, expanding meanings, and amplifying emotional, visceral, and perceptual effects. Ultimately, I seek to create visual and bodily experiences that transcend language, slow time, tap into primal emotions, and suggest that alchemy can exist in everyday life.