In creating my prints and mixed media works on panel, I draw from observation, trace, re-trace, edit and reassemble these drawings. Out of this process springs the conceptual basis for the work: the experience of time, imperfections in observation, and the shifts in recording as stories are told and re-told.

Much of my work has focused on the connection between the literal descriptions of interval—the spaces between branches, negative shapes, layers of ink—and the abstract and intangible notions of time, anticipation and moments lost. I draw from plants and structures found in the domesticated natural world - my own yard, my block, in the yards and gardens of my neighbors. Subjects are selected for their shapes, their lines and divisions of space. While drawing, each of these pieces becomes a layer, a word. I reconfigured, edit, dissect and erase. Color is intuited, added and adjusted. Together these lines and colors become a story or a poem that reflects its subjects and the sense of cycle they hold.

My recent studio work is expanding on these ideas to broader inquiries: What happens when work is made not as a discrete, completed image, but one piece in a evolving whole? How can the differences between the first, observed mark made and the lines that end up in the final work be teased apart, made visible and be recorded? A recent series of works on panel, Sectional 1 – 10, was conceived of and completed to be displayed in a number of configurations. The result is a piece that, while not a traditional narrative, can tell a variety of stories. Current studio investigations focus on how my drawings change while being traced, transferred and re-traced, and how this change intersects with issues of authenticity, human perception and recording.

©2007