People ask me if I work from photographs... I guess that would make some part of the process faster, certainly different. I wonder about the imposition of speed or facility when the whole point is for me to spend many hours in a state of not knowing what is to come next. I will probably break the continuity between the panels, because the work is more interesting out of order. I ask the viewer to wonder about the attachment to linear visual experience as a way of exploring how attached we are to things making sense, the relationship of things in a group, context and order. This drawing for hours is tedious, I often disengage from the notion of better marks and allow the chaos of the simple minded exhaustion of my hands and eyes to unravel the layers. When my eyes get tired the signal becomes looser, unsure, arbitrary.
I want the viewer to wonder where the shells are in space? What is their relationship to surface? Where is the viewer? What assumptions do we make about images of objects?
I think about making a more carefully rendered observation, loaded with illustrative knowing, but I think I want the process of finding the line and battling the space to be open to me as well.
I think about the drawing as a way of documenting a way of seeing.
There is a awesome symmetry and a reckless organic chaos.
I have added some miocene fossils.
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