My work stems from patterns and traces of growth and decay in the natural world and the built environment. At an early age I saw electron micrographs and lab specimens, and I am still engrossed by abstracted images of nature. I am invested in the hand-drawn line for its conveyance of individualism, imperfection, and frailty, and I see my use of line as a tenuous analogy to traditional Asian ink painting.
In my paintings, drawings, and site-specific installations, I strive to delineate the emotional resonance that I see in forms made by natural forces.
In some works, I draw masses of lines that evoke various influences: organic forms like hair, muscles, and fungi; natural systems such as waves and wind currents; geological strata; and topographical maps. In other works, I use hand-drawn lines to interpret records of physical effects of nature in my immediate surroundings—like a bent window plane, or the decaying walls in my former studio. My process includes making tracings and rubbings of surfaces like plywood and cracking plaster, and I think of these marks as the calligraphic and quotidian signatures of the effects of nature. Resulting from impersonal forces, such as water and gravity, these marks record the residue of growth, change, and decay in ceilings, walls, and floors. I consider my works some personal interpretations of the material evidence of time.