Working with sumi ink and brushes of many sizes,
I paint with broad movements that echo the rhythmic flow and
rhetoric of selected musical compositions. I then build three-dimensional
constructions by tearing and combining my gestural paintings,
bending and layering the durable 100% cotton paper and fastening
it in places with industrial elementsgrommets, bolts,
and wire. The constructed components are 3-D, non-rectangular,
and have folded, torn, or curled edges that extend across the
wall, sit in arrangement on the floor, or suspend from the ceiling.
My marks are gestural abstractions, however, the
shapes, shadows, forms, and lines I use can suggest an undulation
and take on an aspect that may suggest energy, landmass, waves,
rock, or other physical elements. I choose to work on paper
because of its long history as a means of recording human thoughts
and ideas. Paper is a natural material, recyclable, and environmentally
safe. Also, tearing and shaping the paper is another mark of
the human hand.
My pictorial language derives from many areas.
Characteristics I observe in natural forms, such as rocks and
fossils inspire me always. Years of study in calligraphy guide
my strokes and brush work. My lifelong study of music, its performance,
and reading of musical notationincluding facsimiles of
autograph manuscripts from the 13th century to those of contemporary
timesinfluence my marks and details in my compositions.
Current Influences include Mark Bradford, Cy Twombly,
Gao Xingjian, Julie Mehretu, and Qin Feng. From Robert
Nickle, one of my most memorable teachers at UIC, I maintain
an enduring, indefatigable interest in the many kinds and extremely
varied uses of collage and a deep appreciation for the natural
marks contained within weathered scraps of previous use papers,
which are in their way, fossils from our present times.