Since 1985 drawing activity was employed to create sculpture whose intimacy as well as immediacy with the viewer was parallel to that of drawing. His intuitive process went from drawing with an electric saw on sheets of plywood to “drawing in space” by orchestrating steel fabricators in the skeletal construction of pieces like TEAHOUSE and NARRATIVE. To him “Drawing is primary, not preliminary.” By 1996 this exploration ceased and he returned to the development of his painting. In 1998 the concept of synchronous viewing, which occurs in late reed pen drawings of Vincent van Gogh, was the basis for a new series of ink drawings titled RHAPSODY. This notion, that a mark is seen simultaneously as an individual unit and collectively as pattern, became the genesis for a new body of three-dimensional work. Under the category of DIMENSIONAL DRAWINGS, many series and installation works have emerged.

RHAPSODY and related work
RHAPSODY is the tangible manifestation of marking activity viewed through multiple drawing episodes. Made of materials reminiscent of a mark distilled from a pencil drawing, the graphite and paper coated cotton rope traces the biography of a gesture and its appearance into form. Whether attached sequentially on the wall, dispersed on the floor or stacked in layers, RHAPSODY encourages the viewer to experience the intimacy, emergence and tactility of the drawing process. Related to RHAPSODY are SCROLL, CALLIGRAPHY and INTERVALS. These works focus on the gesture as wrist manufactured marking episodes.


Relating both in concept and process to earlier works like, IMPACT and RHAPSODY, TRACE is composed of compressed layered marking episodes that have the intimacy of drawing with the sensuality and spatial issues of sculpture.


SQUIGGLE is a series of drawing installations, which mimic the process of drawing by focusing on the composition and placement of the mark.



© 2005