My intention is to further my study of texture and color alongside and amidst the language of abstraction. Originally drawing on pastel, watercolor, mylar and rice paper, I have now shifted to drawing on sanded paper. Questions arise such as: How does light inform color with an extra and uneven surface of sand? What happens when I press in color, scratch, erase fully or partially, or scumble over the sandpaper? I create marks utilizing stamps, screens, pointillism, dashes, crosshatches, long and short lines, thickness and lightness of pigment. I use ink, pencils, pastel, charcoal and graphite. I desire to create depth and energy in my forms by way of employing strong color.
My process begins with automatic drawing. When I open my eyes, I look at the paper and my original marks. What forms do I want to engage and allow to dominate? What needs to recede? I add a strong color. This changes everything! Now, what do I want to convey with that color? Should I press it into the paper so that it has a density of color? Should I disburse some so that the image spreads gently away? What about some marks to enhance that color? I step back from the paper. Should I end the color there or extend it? The forms begin to entertain movement.These decisions open up other possibilities and choices. The forms, colors and marks guide me as I continue. Perhaps they call for a splash of brightness. Maybe I will erase a little. Maybe I need to add a different mark to bring out a new form or some blending.. and so the drawing progresses, matures. Then again I step back and look. It looks complete. I set it up at a good distance, 5-10 feet away and for the next few days glance at it again and again. Let it surprise me. Hm! It works! Voila, for now it is done.