Patterns are a ubiquitous aspect of our universe. They can emerge from chaos or from perfect math, and from countless places in between. A beehive, a galaxy, a turtle shell, an atom, a mold spore, a vine twisting around a branch – I am fascinated with and influenced by all.
My drawing process is guided by inconsistency and imperfection, the very things that make me human. In order to develop a deeper understanding of the natural world, I visually engage with the patterns and textures that I find so mystifying through the act of copying and altering them. I begin by replicating a specific pattern or concept, employing a system of deliberate markmaking that celebrates, and is usually guided by, the prospect of chance. I often utilize microscopes to identify source patterns in a process I call “sloppy scientific inquiry” – I am enthralled by visual investigation using scientific instruments, though I might not know the name of the mold or fungus sample that I’ve collected. Colors and mediums are selected throughout the creative process, as I respond to the initial marks in a fluid and free-form manner, while maintaining precision with the execution. While every piece is uniquely considered, my mixed-media drawings typically include any combination of: graphite, charcoal, ink, acrylic, gesso, marker, colored pencil, and chalk pastel.
The visual investigation and interpretation of what I examine in the natural world, rooted in replication and emulation, results in systematic deconstruction and reassembly. The act of voluntarily copying a pattern or texture and then changing it to make it uniquely my own is the ultimate exercise in seizing and maintaining control of my surroundings, on my own terms, which is something I often struggle to do in daily life in a world of constant stimulation and information overload.