STATEMENT

I want lines to envelop a viewer. In my installations arcs move over the planes of a room potentially flattening, curving and opening felt architectural space. I am interested in the way partial circles are made and unmade based on a viewer’s changing position in the room and how the relationship of a drawn line to inhabited space can create an illusory atmosphere. Within the network of geometric lines there are opportunities for gestural, painted areas to develop. These passages and their relationship to the space grow out of two-dimensional works on paper and plywood.

The acrylic and ink drawings develop indirectly from observation creating the start of an abstract vocabulary. Intuitive squiggles compete with directed marks in a largely additive, layered process which often results in reappearing characters and symbols. These forms can have some figurative and architectural associations but I hope to maintain an ambiguity that the viewer ultimately resolves.

It is the absence of wood that creates dark lines in the cut panel pieces—disrupting events on the painted surface. Cut lines are simultaneously uniform in color but subtly variegated in thickness to maintain a framework that plays against a field of painterly marks. A painting develops on the front while a linear drawing is created on the back; they evolve together—loosely related but ultimately separate. The back drawing is then cut through the front and glued back down forcing the two sides together in a finished work. This process is related to many of the installations in that I am trying to coax together two languages that at times seem more content to be left apart.