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.