I make drawings and large, site specific installations which are also drawings. The former ink, water media, and collage works often begin as anecdotal moments either recorded or observed as I explore the city around me, and frequently evolve to enfold idiosyncratic personal iconography that brings light to the psychological context of my representations. The latter are motivated by similar concerns. They are (usually) composed of hundreds of quick, gestural acrylic and flashe paint sketches made with a fat brush that are then cut and collaged onto both built armatures and the existing surfaces of a space; these are sometimes further animated with embedded lighting. The effect is somewhere between a comic book and a stage set. I mean for these works to enfold the viewer in a graphic space that resists the hierarchical, fixed, singular viewpoints of perspectival representation, offering instead a dense, heterogenous space that can be navigated any number of ways, moving and pulsing, much like the city milieus that inspire them.
 

The drawings making up this zine began from this tense psychological place - but as I did them, they slowed me down, and made me really look, ask questions, and grapple with nuance (as drawing does).

28pp, edition of 100, available at Printed Matter, Inc (NYC) and Atomic Books. Part of the artist book collections of the National Museum of Women in the Arts (DC) and the New York Public Library.