Using the pencil as a researching tool that maps out the journey from and/or to understanding, these drawings represent the ease and tension generated when movement and stillness--and the past and the now--coexist in one space.  Process oriented, each piece depicts a person or mundane item that exists in my immediate surroundings and investigates what is left in a subject when it is not serving its intended function and yet shows evidence of myriad lived experiences and realities. The human form is also explored as a landscape that is often burdened with a purpose assigned by outside, yet intimate, relationships. This dialogue of what is left when a subject is not performing an intended function opens up the space to explore the temporal (matter) and the eternal (space) and is also used as almost a telegram to reach out to someone who is in a different time and/or space and has left impressions on the objects and people in my life.

     The language of these drawings is one of subtlety that builds to an eventual impact or conclusion over time in the same manner that the sanded point of the pencil builds layers of marks, covering and touching all intended spaces. The forming of graphite on paper coupled with erasing and brushing is like putting a salve on the impressions of the past or rubbing it out--erasing it and then letting it back in again. I see drawing as a language that has its own character and mood--the pencil having the wonderful contrast of immediacy of use; yet time, patience, and the construction of marks are needed for results. The process of a drawing is then perceived as a projection or manifestation of the myriad lived experiences and realities of the people, places and things in our lives and a revealer to how the exchange between us and what has affected us in the past impacts our everyday encounters--the present moment. This conversation that acknowledges the link between present and past uses mark-making as a meditation in or salve to the pain of loss or transformation. In turn, this meditation or salve gives to the awareness of--which may eventually lead to the anecdote to--projecting past experiences on a present moment that can’t bear the weight of it. These ideas are the breathing bookends of a work that ultimately communicates, in process and in conclusion, that the drawing is simply between breaths and just on the cusp on inhaling again