Unlike many of the visual artists I’ve met, writing closely ties in with my work. It’s a way for me to formalize thoughts and ideas into auditory, literary information. My artist journal develops alongside my work; in some cases ideas begin as words transforming into physical and visual means and in other cases, as in my recent studio work, the intense moments of impact with materials and surface erupt in words, thoughts so tangible and relevant that recording is necessary for continuation of my process. I think of my work as an exploration of my own physical existence as a human being, as a collection of energy, experiencing these moments through mark and media experimentation.
As an entry into journaling thoughts, I will begin with a few months prior in October during my study abroad quarter in Lacoste, France. The content of my writing from then until now is vastly important to understanding the underlying factors of essentially what my work is about.
Open Model – Figure Drawing
I’m attracted to the joints; elbow, knee and knuckles. The spaces and shapes, gaps and pockets of shadow formed by the crick of the fingers, the cradling of the arm, the hinging of the knees. The downward slant of the pelvis, skin sunken down into bone, a landscape of mountains slowly curving toward the gravity of the earth. The socket where the leg and pelvis meet is a precious spot where light and shadow dance. The neck streaks muscles down into the collar bones, shapes as compelling as the veins beneath the skin. I capture these moments as strokes of vision, disjointed in the way that vision works. Intensive reception of information, collecting so quickly in our minds that we see pieces as a whole, rather then each singular eyelash for it’s sporadic line quality.