"Untitled (S. End)" 2021
Illustration marker bleed-through drawing on paper
Inkjet photo on reverse side
Illustration marker bleed-through drawing on paper
Inkjet photo on reverse side
"Untitled" 2021
Illustration marker bleed-through drawing on paper
Inkjet photo on reverse
Illustration marker bleed-through drawing on paper
Inkjet photo on reverse
"Park Street Cloud Trees" 2021
Illustration marker bleed-through drawing on paper
Inkjet photo and pen on reverse
Illustration marker bleed-through drawing on paper
Inkjet photo and pen on reverse
"Untitled" 2021
Illustration marker bleed-through drawing with acrylic paint on paper Inkjet photo on reverse |
bleed-through drawing seriesThese drawings emerge on the "back" of the paper. There is an inkjet printed photograph on the "front" on the paper. The photos in this series have been taken since the March lockdown caused by the Covid-19 pandemic. Most of these photos in this series have been taken on walks around Burlington. The alcohol-based markers bleed through the paper while also being transparent. These pieces wind up being double sided images. Currently, I'm more interested in the emergent bleed-through drawing than I am in working with the photo side.
This process resulted from longstanding practice of using photography to archive composition, place, time, and memory, as well as the practice of printing out these photos and drawing directly on top of them. For years, these drawn-on photos were references for separate drawings and paintings. When I would make paintings from these altered photos, but it didn't feel very different from painting from a less altered photo. It didn't help my painting practice move away from the reverence for naturalism and compulsion to "get it right" that I was growing exasperated with. This series process in early 2021 and it feels really significant. It's very easy, fast, low pressure, and surprising. Perhaps most importantly, they really bridge my conflicting desires to refer to a specific archived moment but to also be free from feeling like I need recreate the photo. I love how this process allows me to preserve spatial relationships in the photo while also effectively replacing the photo. The emergent image in all the result of marks made by my hand already. And that has been very freeing and inspiring. These pieces feel like they stand on their own, so rather than feeling like I have to recreate the drawn/photo image, I feel freed up to paint responsively again. This series makes me feel like I can continue these non-painting processes and then also create paintings that don't need to be a testament to demonstrating control or preform competency. It gets me excited about mark making, experimenting, and it helps me re-enter painting after having become painfully inhibited for a few years due to extreme stress and grief. I think this marker series is likely to inform a "cheap art" practice and also move in to print making as well. - April 2021 |
"Untitled (N. Ave.)" 2020
Pastel, gel pen, and poster-paint marker on paper
Intended as a study for a potential mural
Pastel, gel pen, and poster-paint marker on paper
Intended as a study for a potential mural
food scraps series
These are variations on the same digital photograph, printed by an inkjet printer on standard printer paper. They differ from one another due to both intentional and unintentional analog processes. It's a combination of the intent to draw on these photos and also, the unintended effects of my printer running out of ink, which I then responded to when I drew on them.