DRAWINGS & SCULPTURES

The line drawing begins as an infantile depiction of idea to paper. Developed as a continuous line these invocations use comic style foreshortening and distortion to give a heightened sense of perspective. The human distortion is central to the experience of the living and the dead. The body is a symmetrically perceived entity with a mental capacity of ancient memory and natural instinct but when pictorially separated into pieces, this capsule looses its definition of distinctly manipulative and powerful authoritarian above nature and tends towards a subjective, fragile, adaptable popular virus inhabiting the crust of a planet.

The conversion from drawing to sculpture takes place in two principal mediums; one is using steel to create 3-dimensional forms with a transparence eluding to the inner fabric of the epidemic vessel, the second is related to a tradition in bas-relief with the ability to sculpt by addition rather than reduction.

Both formats have their origin in the line drawing manipulated to depict the emotional gesture and poise of a dexterous yet sinistered species.

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