Please find below a portfolio of images. By clicking on the image it will open larger. By rolling the mouse over the image the description of media, size and year produced will appear.
Working through multiple formats of drawing, sculpture, prints, and photography allows me to translate an image into multiple outcomes. This distancing from the source incites questions of origin as I work to arrive at something unfamiliar. The subjects pictured throughout my submitted images are carbon paper sculptures. Loosely drawn from architecture, I designed and constructed the geometric pieces, the largest being about five feet, before crushing them flat in a printmaking press. The hard edges of my ruled and scored lines became crisscrossed with the jagged creases from the form collapsing on itself. Then, pulling the flattened forms back into three dimensions produced compelling objects to photograph and draw. In these resurrected structures I saw both architecture and ruins.
My attention to the surface of matte black carbon paper and the way its density is reverberated in silver gelatin paper, carbon-black toner, and charcoal—these are concerns that situate my work within a language of painting and drawing, surface and mark. The physicality of the image itself is paramount. The support, the picture plane as a malleable surface is as much a material to be worked with as anything applied to it. With dramatic shifts between pictorial space and surface space, I aim to unsettle the complacency of a first look. I want the viewing experience to echo my inquiry whereby the more knowledge that may be gained through close observation, the more one’s sense of truth is unraveled by new and changing circumstances.
For the past 8 months I have been situated in a part of the world that is changing at a significant rate every single day. Massive city structures are erected out of the sand and simulacra abounds with buildings that mimic a Venetian canal, a New York skyscraper, or a ski slope in the Alps. My long-standing interest in architecture as an illusion of spatial certainty has taken on new levels here in Qatar. Since arriving in this foreign desert country, I have been taking samples and observations to the studio in ways similar to an archeologist or natural scientist but with different tools and objectives. In the studio I am making structures by hand from paper, dyed fabric, and printed material. I am picturing them through a lens, scope, or scanning device that provides views that I can’t access otherwise. My findings are growing as I piece together segments and these "findings" become the material for new handmade structures. The urge to move continually between two- and three-dimensional forms helps me to develop disorienting combinations of dimension and flatness within a single work. This is my effort to create work where viewing does not mean understanding—where knowledge that is gained through close observation still leaves more questions than answers.