These works have their own sense of caprice: they become maps and territories of language architectures. As a designed abstraction, these works exist in the state of unfinished presence–– the state of what it is, is in general, movement. Each composition begins with the rescaled and traced shapes of different letters, that are intuitively mapped out onto selected papers. With each new letter, the composition and its form arise. The format of the traditional picture plane and its frame of reference is continually disrupted and remade to accommodate the written forms that sprawl across the surface. The wandering emergence of subject matter as a formation of abstracted territory is part of what drives this act of becoming.
While producing “Letter to a Friend,” the qualities of design and construction are blended with the spontaneity of visual exploration. The handwritten text is continuously being excavated and modified into new words, letters, anti-words, and new shapes. In this way, the drawing and collage process is reflective and reactionary; based on position, scale, value, color, texture, and how these elements inform on the evolving content. Like all the collage practices I used in this series, the methods and routines are low tech and rely on observation, drafting, cutting, and the physical handling of materials that are to be placed together.
The image is constructed by the physical accumulation of gestural marks and tracery that form overlapping and expanding territories of abstraction. The theme guiding this new series of work is about the malleability of language under duress. The images usually take on the appearance of a dendritic network of interlacing systems. The works integrate paper folding, experimental drawing, collage, and printmaking. Hand lettering serves me as a tool and unfixed drawing practice that bears and displays the interchangeable links between reading and seeing.