Scrolls on and off the wall
A place you may or may not know2021colored pencil, paint, graphite, sand, washi tape, plaster and hand-stained wood
117 ½ x 60 x 29 ½ inchesThis piece has 3 components: a drawing of water, waves rocks and sky; 4 small sculptures made with plaster and sand that sit on the part of the drawing that extends on to the floor; and extemporaneous text that I wrote directly in the drawing as I worked.
A place you may or may not know, DETAIL2021colored pencil, paint, graphite, sand, washi tape, plaster and hand-stained wood
117 ½ x 60 x 29 ½ inchesThis is a detail from the center of the drawing.
A place you may or may not know, DETAIL2021colored pencil, paint, graphite, sand, washi tape, plaster and hand-stained wood
117 ½ x 60 x 29 ½ inchesThis is a detail of the sculptures on that sit in the section of the drawing that extends out on to the floor.
Flashpoint2021pencil, graphite, charcoal, washi tape on paper with Yahrzeit candle, wood platform
93 x 60 x 14 inchesI made this drawing in the second half of 2020 into 2021. My writing reflects the political climate, protests, and natural disasters during this time alongside personal reflections on loss and distraction that I observed as I worked. I included a platform at the base of the drawing with a Yahrzeit candle, which is used in the Jewish religion to honor loved ones who have died, to memorialize those lost at the hands of police and to the pandemic.
Flashpoint, DETAIL 2021pencil, graphite, charcoal, washi tape on paper with Yahrzeit candle, wood platform
93 x 60 x 14 inchesThis is a detail of the text section in the middle of the previous image.
Flashpoint, DETAIL2021pencil, graphite, charcoal, washi tape on paper with Yahrzeit candle, wood platform
93 x 60 x 14 inchesThis is a detail from the abraded area within the orange taped-off space in the center left section of Flashpoint.
At the still point of the turning world2021colored pencil, paint, graphite, tape and hand-stained wood
102 x 60 x 8 inchesThis is a 2-sided drawing that I made to fit between the ceiling and the floor in the Anne Reid Gallery. The first time I saw the gallery I was struck by the expanse of green you could see out the wall of windows in the rear of the gallery. Green is a color I don’t often use but I decided it would be the dominant element of this site-specific work. I was also thinking about how what is outside affects what is inside and vice versa.
At the still point of the turning world, DETAIL2021colored pencil, paint, graphite, tape and hand-stained wood
102 x 60 x 8 inchesThis is a detail of the green rectangular space in the previous image. A small section of the green from outside, that had influenced me, is visible on the left side of the drawing.
At the still point of the turning world, DETAIL of text2021colored pencil, paint, graphite, tape and hand-stained wood
102 x 60 x 8 inchesThis is a detail from the center section of the drawing.
Landing2020Colored pencil, graphite, and washi tape
96 x 60 inchesThe following image shows a detail from this work.
Landing, DETAIL2020Colored pencil, graphite, and washi tape
96 X 60 inchesThis is a detail from the upper center portion of the previous image.
Sometimes the question why? does not apply2019Colored pencil, graphite, tape, ink, on paper with hand-stained wood
118½ x 60 x 1¾ inches The text in this drawing is about obligation, expectation, and the pacing and patterns in Igor Levit’s performance of Bach’s Goldberg Variations, as they relate to changing patterns of tension and contemplation that occur over time.
Rough Terrain
2019
Pencil, graphite, matte medium, and washi tape on paper
105 x 60 inches
Sundowning2018pencil, graphite, paint, tape, ink, on paper with hand-stained wood
134 x 60 inchesSundowning (also known as a sundown syndrome) = a neurological phenomenon associated with increased confusion and restlessness in patients with dementia. It occurs in the late afternoon/early evening. Symptoms include increased agitation; a person may become more upset/anxious/confused/disoriented/suspicious
A particular kind of quiet, DETAIL2018pencil, paint, ink, graphite, tape on paper with hand-stained wood and glass
149 ½ x 60 x 2 inchesThis is a detail from a drawing that lies on the floor. This detail shows an example of how I introduce small sculptural objects into my drawings. The full drawing is anchored to the floor with hand-stained wood sections on the top and bottom of the scroll.
A particular kind of quiet2018pencil, paint, ink, graphite, tape on paper with hand-stained wood and glass
149 ½ x 60 x 2 inchesThis work lies on the floor with wood sections on the top and bottom of the scroll and 2 handmade glass globes sitting in the blue section toward the top of the drawing. (Shown on the left side.) The right side shows a detail of the glass globes in the blue-black field.
You might wait forever2018pencil, graphite, ink, Bic pen, tape on paper
60 x 106½ inchesThis drawing was made after a protracted illness, so much of the text is referencing a reorganizing of priorities. The next image shows a detail from this piece.
You might wait forever, DETAIL2018pencil, graphite, ink, Bic pen, tape on paper
60 x 106½ inchesThis is a detail from the preceding image.
The dividing line2017pencil, paint, and incised marks on paper
109 x 60 inchesThis drawing (shown in full on the left side) was started in 2016 and was influenced by disturbing events beginning with the attack at the Pulse nightclub in Orlando and continuing through the presidential election, its aftermath and the ongoing fallout that continues to affect how people navigate the dividing lines that run through so many layers of our culture. It is one of the darker drawings I have made with much of the work abraded and buried in graphite. A detail of the center section is shown on the right side.
A place you may or may not know
