Throughout my practice, I explore the relationship between human kind and their surroundings, both with their environment and with each other. I have begun with the investigation of uncontrolled, natural marks created from elements such as time, the environment, and human interaction. This is accomplished by imposing my own structure on top of spontaneously or naturally made marks and forms. I examine, exploit, and fixate on segments of natural processes and enforce my own will onto things that have begun their natural decay.
This concept is evident in Leaf Mendings. Leaves that are torn or have begun to change color are removed; holes and tears are then repaired with thread and are painted where the color has begun to turn. The leaves are then reinstalled with strings to their original homes.
In the series Found Maps, forms are grouped with naturally made elements such as moss patches, scattered leaves, and paint splatterings. Included is a structure that maps out the forms to define space. With chalk, charcoal, pastel, or string a grid is imposed either on top of the composition, or forms are outlined in order to create a relationship between markings. To further document, a drawing is created of the made maps. The process of creating the maps, as well as the compromises and changes to the original findings become ways of furthering the subjectivity of the drawings and control the perception of the found forms.
The investigation of naturally occurring marks is further explored in Rust Markings. Rust becomes a way of creating uncontrolled marks that carries the history of the aged object. From these impressions, forms are arranged to create maps or are imposed on top of a structured surface. This is done in order to find a balance between the uncontrolled marks and my own design.
These trivial gestures of restoration and efforts to find balance between the accidental and intentional become a personal way of examining smaller processes in order to further comprehend overarching processes that are beyond my comprehension.
This concept is evident in Leaf Mendings. Leaves that are torn or have begun to change color are removed; holes and tears are then repaired with thread and are painted where the color has begun to turn. The leaves are then reinstalled with strings to their original homes.
In the series Found Maps, forms are grouped with naturally made elements such as moss patches, scattered leaves, and paint splatterings. Included is a structure that maps out the forms to define space. With chalk, charcoal, pastel, or string a grid is imposed either on top of the composition, or forms are outlined in order to create a relationship between markings. To further document, a drawing is created of the made maps. The process of creating the maps, as well as the compromises and changes to the original findings become ways of furthering the subjectivity of the drawings and control the perception of the found forms.
The investigation of naturally occurring marks is further explored in Rust Markings. Rust becomes a way of creating uncontrolled marks that carries the history of the aged object. From these impressions, forms are arranged to create maps or are imposed on top of a structured surface. This is done in order to find a balance between the uncontrolled marks and my own design.
These trivial gestures of restoration and efforts to find balance between the accidental and intentional become a personal way of examining smaller processes in order to further comprehend overarching processes that are beyond my comprehension.