When I observe the world around me, I am not only looking at my subjects, but I am silently deconstructing them one line at a time and then putting them back together again. This doesn’t matter if I am looking at the sharp edges of buildings, the delicate curves of nature or the precision of geometric formations.
Why do I do this?
This practice of elimination and inclusion allows for me to study and understand connection. How pieces fit, worlds construct and how nature chooses its path to create strength, beauty, and wholeness. This is the essence of connectivity and how line plays the part of adjoining me with the natural and/or man-made worlds.
The starting points of my work are (often) built from instinct; visualizing the end point before a mark is ever made. This accommodates for an organic flow and I accomplish this using long-established methods such as ink, graphite and paint on paper or wood. In the advent of change, new media methods have become prominent in my practice. By using the computer, I take photographic cuts and collage them with deep-rooted drawing/painting techniques. Once finished, I carefully choose my paper type for each exclusive print. By blending the old and the new, I can find a renewed freedom for experimentation and allow viewers to experience growth, independence, and mental clarity through simplicity.