Time Lines (Anchors)
I am interested in the relationship between drawing, time, and thought. My drawings are composed of marks which, referencing English artist Avis Newman, “are signs of thought.” Eastern philosophy is a guide while working. Randomness determines outcomes. Time and the grid are systems of measurement. These influences are all synthesized in an expanded notion of drawing.
Avis Newman writes, “I have always understood drawing to be about...the operations of thought." As the hand makes lines over time, what happens inside the mind? Can thoughts ebb and flow as marks do? How is time experienced as I draw? What becomes of this absurd activity? These are a few of the questions that motivate Times Lines. In Time Lines, marks suggest thought.
The notion of expanded drawing influences my work. Traditionally, a drawing is a picture of a subject rendered on a two dimensional surface. In Time Lines, marks translate experiences. Lines suggest rather than portray. As 2D reliefs, these drawings also shift between dimensions.
Recent works on paper are inspired by everyday observations of nature . It provides repose and encourages me to observe and listen to the subtleties of my surroundings. I am particularly captivated by what is happening in the margins of an environment. The 2D relief series, Time Lines (Anchors), stem out of watching spiders cast webs and structures found in diamonds. In these works, 3D constructions are made of thread and pins. They rest on random points on a grid. Like the spinning of a web, they are unraveled and repositioned as I work. Shadow lines are observed and traced. This repetitive activity alludes to process art and allows for “being” while working rather than “doing”.
Works are timed from beginning to end. This sets a schedule that does away with distractions. Thus, it allows for greater cerebral participation in the drawing process. Works are created over a few minutes to several months. Times are recorded in titles.
As in Eastern philosophy, the grid levels the hierarchy between dimensions onto a single ground so even dialogues can form. The grid becomes a boundary to measure the growth of a drawing. The area in between subject and gallery serves as an open ground to perceive from.
All works become frameworks for consideration. Variation is employed to evolve them forward and see what happens next.