Reference; Deconstructed Memories and Exploration of Place
Deconstructed Memories and Exploration of Place
The work in this show is based on observational drawings I made of crane barges along the Duwamish River in Seattle over the past six years. Massive in scale, graphic in shape, these vessels are markers in the industrial landscape. Using a process of iteration and methodical exploration I've created deconstructed images in various techniques, including monoprints, transfers, soft sculpture, and foam cutouts.
360 photo of my show at Perry Carlson Gallery (Nov. 2017)
Untitled (Duwamish Barge Cranes- Large)
56" x 82", Sumi Ink, Flashe Paint, Crayon, 2016
Spray paint, acrylic on plexiglass.
28 x 21" Sumi ink, Flashe Paint, Acrylic, Transparency. 2015
Pilings, Sumi Ink, Graphite on Paper, 42"x 58" 2014
9" x 9", Sumi Ink on Tyvak. 2015
10" x 14", Sumi Ink, Graphite on Paper, 2015
9" x 9", Sumi Ink, Graphite on Tyvak, 2015
REPETITION, PARADOXICALLY IS ALWAYS NEW What would happen if I drew the same image a thousand time?
There is freedom in the insistent and endless predictable repetition of an image. I worked on the same image for more than three years and found an endless supply of inspiration in the simple act of repetition.
Through repetition I'm working on transformation, moving beyond representation towards abstraction.
Sumi Ink, Rice Paper, Vellum, 16" x 12" x 4", 2012
Wall of Faces/Curtain of Falling
Sumi Ink, Rice Paper, 14” x 22” x 3”, 2012
FC4 (Rolled and Falling)
Rice paper, Sumi Ink, Glue, Vellum, 18" x 24" x 2", 2012
Series 10, #4
14" x 17", Sumi Ink on Paper, 2012
Series 10, #6
14" x 17", Sumi Ink on Paper, 2012
Sumi Ink on Paper, 2012
FC3 (Massive Tumble)
Paper, Sumi Ink, Gelatin, Clay, 18" x 24", 2012
Series 10, #11
14" x 17", Sumi ink on Paper, 2012
Series D, #2
9" x 21", Sumi Ink, Gesso on Paper, 2012
Zurich - in progress
Last year I spend two months in Zurich Switzerland (my birth country), specifically to learn its visual vocabulary. My plan was to both explore the imagery of Zürich, and the historic significance of the river. No longer a native, my own culture now seems strange to me, shapes that were so familiar are now estranged. My visual reference is Seattle, and I was there to compare these two cities. I spent my days learning the visual language of Zürich; sketching, researching, note taking, and working on becoming visually bilingual. I’m currently working on turning these drawings into an actual alphabet.
REPETITION, PARADOXICALLY IS ALWAYS NEW
There is freedom in the insistent and endless repetition of an image.
Through a combination of memorization and a limiting process-based approach, I go in search of the quality of the object. Challenging myself to explore the same object by drawing it over and over again I begin to understand its essence.
During this process the materials are the reality; guiding and limiting my work.
The interaction between the repeated images, the expressionist lines and visual rhythms create a new pattern, a constructed image hinting at movement and transformation.
Falling (Faces) Detail
Emphasis is on composition, pairings, the interaction between the faces.
Materials: Vinyl Paint on Plexi Glass. Individual pieces are approx. 12" x 15 ". Installation size varies, but approx: 5' x 9'.
The process for this specific installation:
Start with: Precut paper 4”x4”, Sumi ink and brush, one reference photo.
Create 100 *blind drawings of one face. (*Looking only at the reference photo and not my drawing)
Draw quickly, emphasis on gestural accuracy not representation.
Edit pieces down to 56
Create vectorized image of each piece
Enlarge each face 343.14%
Cut each face out of opaque matt Acrylic (laser cut)
Project each image onto the cut-out
While refining the image I seek accidents and the unexpected. A mark is only successful if its put down without hesitation, failure is part of the process. It’s the only way I can absorb the quality of the object, and move beyond representation towards a gestural construct of the form.