My work develops out of an ardently optimistic response to technological advancement and a casually philosophical conviction that reality is a multi-layered, intangible illusion. My drawing process is meticulous and meditative. Using ballpoint pen, I scan my hand over the paper’s surface to gradually build up thin layers of feathery, slightly iridescent marks.
The size of small hairs, these diagonally drawn marks are evenly coated as I begin each drawing in the bottom left corner and finish in the top right. The ballpoint strokes are simultaneously the means by which the image is created and a veil which clouds and confounds the appearance that anything concrete lies beyond the paper’s surface. This exacting process amplifies the perceived disconnect between the physicality of the art object and the drawn illusionistic image. In this sense, my drawings share much more with a landscape viewed on a television screen than one viewed through a window pane. Most of my drawings depict seemingly unbelievable, serendipitous phenomena, and the images often appear closer to movie stills, simulations, or dreamscapes, than anything naturally occurring.
These supernatural images exist primarily on the virtual plane where time and space are malleable constructs and the sublime is more a feat of engineering than happenstance. Their ethereal quality, coupled with the viscerally arresting physicality of the drawn surface, exalts the copy as a uniquely enigmatic object.