Organic textures, cracking paint, decaying bark, and microscopic studies of human tissue and ligaments. From a distance, these drawings suggest aerial views dissecting portions of a landscape. Approaching my work, the textural perspective changes as details come into focus, creating the illusion of recessive space.
Currently, my work is about the discipline of drawing- the careful execution and delicateness of line and the control of tonal value-and the reevaluation of the qualities that attract me most in drawings. Highly textured materials, such as bark, thick dried latex, rotting fruit, crumpled paper, were some of the initial reference materials in my most current drawing series Hybrid (Series of 3), 2012-13.
Photographic research initiates my process. Through cropping and change of scale and tonal value, the photographs are projected onto the paper to organize my composition and then used as reference while I begin drawing. The progression of increasing paper size has encouraged me to explore the effects of dramatically cropping and changing the scale of smaller areas of a photograph. This has generated unique visual reactions between similar and unrelated objects aesthetic qualities by further distorting the original source material. Hybrid (2013) is a reflection of my process of construction in the full.
In 2011, I produced Untitled Drawings, a set of graphite drawings generated strictly through visual instinct and pieced together in various formations. There was no reference material, presentation requirements, or definite finishing point that produced restrictions. This project prompted the creation of Sculpted Drawings (2011). Sculpted Drawings explored the transformation from two-dimensional drawings to three-dimensional forms, using broken plaster and powdered graphite as media. Each project was directed at detaching myself from the recognition and connotations of research material in order to focus on the compositional aspects, elements of design, and the aesthetic qualities of the graphite medium.
I choose to work with graphite on paper as a way to go back to the simplicity of monotone drawings. Graphite allows me to control the spectrum of light and dark tones, soften forms through blending and erasure, and refine details with sharp and faint lines. The extensive range of visual effects graphite produces not only allows me to continuously build on the image with high amounts of detail, but also is the focus of the work. The organization of the drawn sections intentionally utilizes negative space to draw the viewer into and around the drawing. This creates continuous movement in the composition.
Currently, my work is about the discipline of drawing- the careful execution and delicateness of line and the control of tonal value-and the reevaluation of the qualities that attract me most in drawings. Highly textured materials, such as bark, thick dried latex, rotting fruit, crumpled paper, were some of the initial reference materials in my most current drawing series Hybrid (Series of 3), 2012-13.
Photographic research initiates my process. Through cropping and change of scale and tonal value, the photographs are projected onto the paper to organize my composition and then used as reference while I begin drawing. The progression of increasing paper size has encouraged me to explore the effects of dramatically cropping and changing the scale of smaller areas of a photograph. This has generated unique visual reactions between similar and unrelated objects aesthetic qualities by further distorting the original source material. Hybrid (2013) is a reflection of my process of construction in the full.
In 2011, I produced Untitled Drawings, a set of graphite drawings generated strictly through visual instinct and pieced together in various formations. There was no reference material, presentation requirements, or definite finishing point that produced restrictions. This project prompted the creation of Sculpted Drawings (2011). Sculpted Drawings explored the transformation from two-dimensional drawings to three-dimensional forms, using broken plaster and powdered graphite as media. Each project was directed at detaching myself from the recognition and connotations of research material in order to focus on the compositional aspects, elements of design, and the aesthetic qualities of the graphite medium.
I choose to work with graphite on paper as a way to go back to the simplicity of monotone drawings. Graphite allows me to control the spectrum of light and dark tones, soften forms through blending and erasure, and refine details with sharp and faint lines. The extensive range of visual effects graphite produces not only allows me to continuously build on the image with high amounts of detail, but also is the focus of the work. The organization of the drawn sections intentionally utilizes negative space to draw the viewer into and around the drawing. This creates continuous movement in the composition.