These works explore inherent and contradictory characteristics of drawing as a medium, an activity, and a means to other ends.  Intimate, immediate, investigative, irresolute and indeterminate aspects of drawing invade and intersect with each other, complicating and enriching those impulses and gestures that manifest themselves in marks.  I refer to marks with socio-political terrain in mind.  Whose traces are erased, whose stains remain, whose tales do we imagine while gazing at these remains?  The tensions elucidated below by Rousseau, Derrida and Baudelaire, those of longing, beholding, of perceiving, and remembering, of losing and capturing are featured in these works with grandiose aspirations bound to collapse.  Diverse strategies of mediums, perspectives and execution allow the viewer to question what they see/know, how they have come to their beliefs, in addition to ontological queries about drawing, and the limitations of interpretation.  The lightheartedness of the visual imagery and caustic titles feed off of each other, and destabilize one’s initial response just as the drawings beckon investigation from multiple points. of view.

 

Love, it is said, was the inventor of drawing, 

Rousseau, Essay on the Origin of Languages

 

The origin of drawing gives rise to multiple representations that substitute memory for perception.

Jacques Derrida,  Memoirs of the Blind

 

In this way, a duel is established between the will to see everything and forget nothing and the faculty of memory, which has formed the habit of a lively absorption of general color and of silhouette, the arabesque of contour.

Charles Baudelaire, “Mnemonic Art” in The Painter of Modern Life