I often use literary compositions as models for my work. Linked themes in an essay might dictate the interior structure in a composition, or, a certain percussive meter in a poem might suggest color palettes or spatial cues. Transcribing text into visual elements is a source where, for me, fresh chemistry emerges into unique hybrids.
A large variety of mediums and materials are used in my paintings, books and prints. Extensive studio shelves house oils, gums, glues, and powders that combine into uncustomary vocabularies of touch and technique. Comparably, the imagery I use is generated from disparate sources and categories as well.
The chronology of prayer in Books of Hours is aligned with the passage of time and mapped within the boundaries of a single day. In this series of paintings, studies of optical instruments with their light catching lenses, emphasize aspects of reflection to frame spaces between medieval concepts of the secular and the sacred.
Ochre Scriptory, an accordion book, is a 5-inch by 100-inch panorama that scrolls through drawings of clock interiors, typewriters, navigational tools and observatories. It pictures an array of inventions engineered for self-orientation in the terrestrial world and these are set into a timeline of languages and devices designed for writing and communication.
In both of these series, representations of the book and the page recur as reminders of the paradox of reading; both in its genuine intimacy and its capacity to affect all aspects of public culture.
Sixteenth century drawings and engravings from Northern Europe have influenced my new work. In that period, the emerging genre of landscape in graphic works by Durer, Altdorfer and Pieter Bruegel, suggest the forest as an iconic site for transformative tales. The sense of potential ‘lost-and-foundness’ at the edge of the civilized meshes with the thickets of hypnotic pen work that describes this liminal ground. The fragile threshold separating the imagined from the ordinary evolves as true subject – made even more compelling now as our remaining wilderness is logged into nostalgia.