My oil pastel drawings are created using my body and movement to think through the arc of a drawing. Material embedded in the paper in thick layers akin to clay, are incrementally displaced and carved into through a series of strategic physical movement. By kneeling, sitting and pushing against the ground, subtleties of speed and direction are recorded. The resultant works merge plant and human identities which cannot hold a single spatial logic. They resist compositional traditions inherent to the classical unified gaze. They explore the stuttering gaze which cannot easily be fixed in mind of the viewer.
The reflective surfaces of the burnished graphite drawings engage the onlooker in perceptual play as areas of emphasis slip from positive to negative space and compositional elements appear to flicker. Destructive forms such as hand grenades and pistols are integrated into decorative and lush grounds to be discovered. These illusionist structures reference Ouija boards, video games, and chessboards. They reveal that there exist gradations between binaries such as black and white, medicine and poison, power and vulnerability. These pseudo-narrative works are also inspired by European landscape architecture drawings, turn of the century botanical illustrations, Audubon field guides, and illuminated manuscripts.