My work is small in scale, primarily black and white, limited to the exploration of line and shape. Many of the works are on my own handmade paper, often distressed in the paper making process. These and other stochastic events and accidents become an integral part of the final piece. Unconsciously the works seem to convey some internal improvisational music onto the two dimensional surface. There seems to be an essential lyricism that grows out of the assorted lines, scratches, stamps and smudges in these works. Hopefully each mark engages in a conversation with the other elements of the piece. I find symbols and marks that form the language and calligraphy of these pieces arising out of experience. The process of converting them to marks fundamentally alters them to form their own language, whose meaning seems to arise when I apply them to paper.
Trained in mathematics and physics, I am drawn to the abstraction of music found in small chamber music. I find that a single cello line as written by Phillip Glass is as much an abstract and minimal description of an aural landscape as a description of multidimensional logic by linear algebra. I find that these pieces are themselves a similar mapping of my internal aural landscape.
