This work reflects my interest in a modularity of architecture that views the built environment as anti-utopian and promotes avenues of bricolage. In my daily interactions with constructed space, I see architecture as a manipulator of vision. Whether I am working with drawing media, sculpture, or photography, I view constructed space in layers—of material, of space, and of time. Even though the compositions and arrangements of images or objects, in the work, remain fixed in reality, the unreliable or erratic nature of our vision or attention causes these elements to seem as if they are changing. I want to signify the transient nature of the building process as if it were some kind of mythic practice. A significant influence for me has been the study of ancient cultural sites in which mounds, standing stones, or menhirs are placed as magnetic markers for ritual purposes or points of communication. I see the wall formations and placement of objects in my work as modern magnetic markers that advocate a reexamination of our lived environments. By using the visual representation of constructed space, I work to assemble hybridized situations of manmade elements and non-manmade elements, which also actively manipulate time and space based on their cultural connotations. I am interested in the degrees of separation between geologic substances within our environment and how their rudiments create our perceived world. In particular, I have used the setting of the construction site or test site as a point of departure to speak about the beginnings of raw earthly materials, which are then composed into building material. Much like a set of child’s building blocks, always vulnerable to rearrangement, the actions of braking down and building up are repeated from one composition to the next. These settings wax and wane within process states that collectively resemble construction, decomposition, archeological excavation, theater set, place and non-place.
These drawings were produced with an almost scientific meticulousness, parts of which were at any moment erased, scratched into, layered upon or completely covered over. Similar to the hybridization of visual imagery within my work, I also employ myriad textures that are produced through the interaction of various mediums, including graphite, colored pencil, gouache, and ground pigment.
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- Our high-quality giclee prints are produced on a proprietary material carefully selected for its ability to display rich, vibrant colors, capture subtle detail, and remain crinkle-free. Limited Edition of 100.
- The giclee print sizes quoted above measure the outer dimensions of the paper, not the printed images. There is a 2’’ border around the image on each print for matting and framing.
- Framing Available. Our minimal, black frames are made of a natural, recycled material that won’t warp or dent like solid wood. Each frame comes with a custom 4 ply, white mat.
More About This Print
- Each canvas print is gallery-wrapped and stretched on 1.5’’ stretcher bars with a semi-gloss finish. Limited Edition of 100.
- The print sizes quoted above measure the outer dimensions of the stretched canvas print and the printed image spans the full dimensions quoted.
- Framing currently unavailable. All canvases are printed with mirror imaging along the 1.5’’ stretcher profile for a polished, unframed display.
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- 20.0" x 25.0"
- graphite, colored pencil, gouache, pastel
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