My drawings work as playing fields for exploring image and idea. A drawing may come before a painting it speaks to, or a painting may become a study for a drawing. The act of drawing for me is painterly, in that I cover a surface in much the same way that I paint. The compositions arise from what I have interpreted in the studio from memory, although the individual parts may be reassembled into a more fantastical form.
The “Books” series runs in tandem with a collaborative mail-art collage series, "The Corpses," which I began in 2005 with a poet I met at the Millay Colony. It reflects my love of found materials and my thoughts about the book as record, and has become an on-and-off journal of time in the studio (the fired clay dates back to classes at a Philadelphia clay studio and has moved with me over the years; some of the found wood is from my early NYC days scrounging around the Lower East Side). The titles play with my affection for years of paperbacks I cannot part with. I have found that immersing myself in found objects transforms the world into material; marrying them to the idea of the book makes me see possible books—records of our experience—everywhere.
Always in view no matter the media is that click of significance: Richard Dreyfuss shaping mashed potatoes in Close Encounters, insisting, “This means something.”