I've been working on a number of things since we talked last:

  • I've been selected to be a featured artist at this year's Draw to Perform symposium in London in MAY, and will be conceiving and performing a new durational drawing work as part of the 1st day of the symposium.
    I'm working with the curator now regarding material and size limitations.
     
  • I was invited to make a Print for the Corcoran's final print portfolio (also the 30 anniversary of the portfolio) and have been working on the small edition of screen prints based on the Corcoran's atrium .
     
  • I've begun a small scale collaborative drawing project with 9 other artists from around the country and the world that is at its very beginning stages— the project is essentially a suite of 10 drawings,  10cm x 10cm,  by 10 artists over a series of 10 days. Each artist I selected for this project has an element of obsessive, repetitive mark making in their work.
     
  • I am also working on 2 projects for courses in this program:  
    • a video/installation piece for Beth B.'s: Auto Biography of Place 
    • as well as a piece that combines drawing, video, sound, sculpture and site specific installation for S. Madoff's:  History of Interdisciplinary Art 
       
  • below I've put together some galleries of the work I've made since we spoke last, the 1st of these is a revisit of old territory for new exhibitions followed by brand new work, some of which was just included in an exhibition at SVA's Chelsea gallery

 

WELLS OF MIMIR
from: 'The company we keep' exhibition at The Marks Art Center Palm Desert, CA

  • for this exhibition I revisited a previous series involving ink and ice to make drawings over time. I re-edited time lapse footage from the original installation in order to create a short video to accompany 2- 20'' x 30'' digital C prints, mounted on aluminum
     

RESIDUE OF A SHADOW
from: 'Highways and Rest Stops: Passages in Current Practice' at SVA's Chelsea Gallery, NY

  • This is a site specific installation of brand new piece that I began after our last conversation. This installation is made up of 144 gilded tea bags that have been filled with the powdered graphite and eraser residue of the large wall drawing you saw last summer. Each bag is gilded on only one face so as to allow the graphite to transfer to the wall space.

    so much of what I’m working with now is about what is left behind, the residue

    the last few images, of the marks left after the bags have been removed are the drawing—
    the residue of a shadow, deposited over time as human movement through an interstitial space caused the bags to sway— the force of each impact adds a fine layer of graphite…

    our memories are like this, the accumulated residue of our actions, the debris of sensation and cognition accumulated over time; marking us
       
     
  • While this specific installation has come and gone, it feels like this piece is still in progress— with potential for additional installation / presentation in response to other spaces.
     

DIACHRONOUS DRAWING NO.1  (96'' x 144'')
also from: 'Highways and Rest Stops: Passages in Current Practice' at SVA's Chelsea Gallery, NY

  • this piece was conceived thinking about time as existing granularly vs. linearly
    This site specific durational drawing focused on capturing and collecting the sedimentary accumulation of the drawing materials over time —

    I was thinking about DeLanda and the accumulation of sediment in relation to time’s passage as well as some autobiographical ideas about the accumulation and dissolution of memory/the substance of memories regarding transgressions over time.

     
  • Diachronous is a geological term that refers to a kind of sedimentary deposit that often follows a ‘marine transgression’ or shift in sea levels. The drawing was made on the 1st day of the exhibition and erased on the last, the sediment from each phase collects on the ledge at the bottom of the drawing, forming a ‘delta’ an inversion and remaking of the original form of the drawing.

    Visually the form is meant to be reminiscent of an hour glass with the drawings reflection in the floor foreshadowing the ultimate shift the drawing will undergo.

     
  • the drawing was not able to be fully erased— the paint used melted under the heat of the eraser
  • the accumulated pile of debris was preserved and may feature in new work
  • at this scale the debris pile was too small for my goal— if I were to attempt a work like this again there would need to be a daily cycle of drawing and erasing so that the tailings pile becomes more pronounced in scale

SKETCHES, STUDIES, PLANS AND NOTES FOR NEW WORK
I've also been reading 'The art of Memory' by Frances Yates