The foundation of this work is based on the coincidence of natural patterns and spatial rhythms that repeat themselves spontaneously in my lines. Defined by the focusing power of line, the similarities and differences of these structures form a dialogue that reflects the spatial energies I feel in nature. To synthesize this dialogue, I have added the more rigid element of the circle and the square. All lines, including circles, are freehand.
Inspired by the same landscape view in Lubec, Maine, the work is part of an ongoing project designed to explore and document this language. Each year I edit several hundred drawings in order to organize the groupings that reflect the most recent shifts in the energy of my line.
The process will define how these groupings evolve.
This project has evolved over 12 or more years. In order to focus on the naturally occurring shifts in my line, I felt it important from the beginning not to introduce variations in technique. I draw by looking mostly at the landscape not the paper. There are no “planned lines”. All of the smaller drawings are done in the 18” x 24” format using a .07, 2B lead mechanical pencil on Arches HP watercolor paper. They are shown in series of groupings of three to eight pieces.
The larger drawings are done in my NY studio working from a photo of the Lubec view. Again, largely instinctive gestural drawings of the by now imprinted landscape.
All large works are 52” x 72” (approx.) and done with a black pencil and/or thicker graphite pencil. In order to give the larger pieces extra needed depth - without changing the idea of the basic black line that defines the space - I add the element of scored “shadow” lines. These are created by scoring the paper with the metal tip of my .07 mechanical pencil, causing the paper to bend with the line.
I work exclusively in the medium of drawing.