In my current drawings, meditations on time and loss are what leads my hand.  Working with fugitive materials, custom inks made from natural dyes, these colors transition and fade quickly in response to their exposure to light. Inks made from wild blueberries, the initially deep indigo-blue shifts to a dusty gray. Rich walnut browns fall to a biscuity tan, a color palette of impermanence. The desire to make my own inks has also led me to investigate making my own tools and papers. Referencing natural historical materials, I make pens from quills and brushes from squirrel tail. Hand hewn tools, such as a quill pen, slows me down and the inconsistency of my inks yield subtle nuances. I welcome this.

I view these drawings as testaments to mindful record keeping and a bending inward. Some of the drawings start with the initial line being drawn as straight as possible, underneath the top edge of the paper. Each line thereafter, is scribed from left to right, and I attempt to mimic or trace the contour of the line above it. The finished work culminates in a dense layering of quiet movement. In another group of drawings, the repetitive patterns are more atmospheric and hypnotic in nature, filling the paper field with muted undulating cloud-like forms and fatigued stripes.

My sculpture, installations and drawings share a wry and poetic language that yield gently subversive pieces referencing a cross-pollination of science, popular culture and the fuzzy things that go bump in the night.