Portfolios > Drawings 2012-Present

He Said Surprise and Then He Started Shooting
Micron Marker on Layered Duralar
40" x 25"
2018
Fish, Justice, Diving Rings, and Plush Toys
Micron Marker on Layered Duralar
40" x 25"
2018
Geometry, Redactions, and Already Forgotten News
Micron Marker on Layered Duralar
14" x 9"
2018
Competing Rings and Ice-cube trays
Graphite and Acrylic on Paper
30" x 25"
2018
Memory Palace
Micron Marker on Duralar
40" x 120"
2015
Memory Palace 1
Pen on Layered Duralar
2012
Memory Palace 2
Pen on Layered Duralar
2012
Memory Palace 4
Pen on Layered Duralar
2012
Memory Palace 3
Pen on Layered Duralar
2012

In Quotational Practices: Repeating the Future in Contemporary Art, Patrick Greaney asserts, “the past matters not only because of what actually happened but also because of the possibilities that were not realized and that still could be. Quotation evokes those possibilities. By repeating the past, artists and writers may be attempting to repeat that past’s unrealized futures.” In the information age, the Internet, for instance, provides us an expanded collection of visual information—quite literally available at our fingertips—summoning together aspects of the past and possibilities of the future into a boundless present. These Duralar drawings represents my attempt to communicate the ways in which I experience my contemporary moment constructed from multiple temporalities excavated from my past. I combine fragments of my representational paintings created between 1995-2003, nonrepresentational renderings produced between 2003-2014, and current articles from various newspapers. Using traditional tracing paper, I randomly select moments of my previous work to transfer and layer in complex compositions. The final renditions of fragmented and layered histories enact the ways that we collectively experience multiple temporalities in the present. Quoting my various bodies of work challenges both material and conceptual boundaries that determine fixed notions of artistic identity.