Archives for the month of: July, 2012

The concentrated block of time devoted to creative research directly corresponds to the volume of work created.  I have the ability to work with a very diverse group of personalities and find that these are always great opportunities for visual problem solving and aesthetic discourse.  I believe maintaining a sense of flexibility is critical to achieving an optimum experience in a residency where the studio and environment is different than ones usual practice. I plan to execute drawings in charcoal, chalk and acrylic paint on paper. I wish to remain open to their construction and my response to the environment in Caylus, France. I expect the working environment and cultural exchange to have a significant and important impact on the creation of my visual imagery.
My work typically employs raw and expressionistic marks countered with areas that are more controlled and carefully articulated to create visual tensions and counter thrusts.  I find theses passages are necessary to evoke emotive response. I intentionally leave areas gritty where the surface is dense with multiple layers of paint, charcoal, and chalk that translate into levels of shift and movement. The drawings contain a historicity of marking vocabulary that comments on mistrials, hopeful starts, human frailty, and re-evaluations. The painted areas are often left flat without modulation of tonal values to create a sense of ambiguity, lack of conviction and spatial confusion. This material manipulation pictorially aides in the narrative content without being literal or didactic. Plasticity and the more formal elements of design are under constant evaluation and revision as I carefully weigh my aesthetic choices and the impact they may exert on the thematic development of each drawing within the scope of the project.

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My work is affected by the idea of meaning and purpose. I perceive the individual’s search for meaning as a creation process, a state of construction and maintenance. Perversely, I view the state of deterioration as an active loss of meaning.

In Caylus, I see the medieval buildings to be monuments in themselves as evidence of lives and populations that have existed previously. Some buildings are in a condition of development in which meaning is being maintained or recreated, while others are in a condition of decay in which meaning is being lost.

The imagery of the work that I have done at DRAWinternational consists of forms that reflect these modes of change. I did not want to represent these bodies as definitely  renovated or deteriorated; I wanted them to be captured in a state that is potential to both possibilities.

Installing my drawings around the Caylus area is an attempt at creating meaning as well. It changes the image, giving new meaning through the relationship between drawing, lighting, and its surrounding elements. It is a different way of seeing and of being seen. Ultimately it is a different way of existing.