charcoal on paper
Over the last three years I have abandoned other avenues of expression to concentrate my efforts in drawing.
My drawings are a basic physical and psychological record of my touch, movement and erasure of my time spent
with each drawing and idea. Drawing has traditionally been thought of as preparatory work for other forms of art.
I understand it to be a process unto itself, a proposition to a way of thinking. I use drawing as an arena to explore,
reference and mix multiple ideas or systems that interact on the same page, such as atmospheric abstraction reacting
to the graphic tradition of Japanese printmaking. The sublime paintings of William Turner, prints by Hokusai and the
drama of black and white cinema have all been influences.
Drawing is an immediate act that can be seemingly uncomplicated to look at. It is my desire that every decision
within my drawings be visible, as if the image were in flux and ready to change at any moment. I am able to approach this
kind of instability by setting up contradictory layers that work with or against each other. I use the paper
simultaneously as a place to be marked upon, as well as a surface to create illusionistic space. I am trying to produce
a series of marks and erasures that relates to the power and splendor of the natural event. I want there to be a correlation
between the way a mark is delivered to the way the forces of nature act upon each other: in its speed, density,
texture and breadth.