| |
From the 1960's when I did my first watercolors
of the robust grain silos standing in the forlorn prairies of Illinois
to last year's visit to Spain where I sketched fragments of the
amazing Great Mosque in Cordoba, drawing has been an ever-evolving
passion and outlet. My training in architecture allowed me to not
only develop in artistic ways but in the awareness of the innate
interconnectedness of built and natural forms and places.
Etching, for me, became the natural transferential
agent of the drawn line. It captures on a copper plate the fluidity
and carpriciousness of line work. Through various mechanical processes
tone and texture are introduced so that the line work is both enhanced
and validated.
The print, achieved by way of pressure applied
by the press, lifts the ink from the plate grooves and onto paper.
|
|
I find exhilarating the anticipation and discovery
as the image reveals itself--often something quite unexpected but
always holding promise.
Drawing, along with photography,
is for me the chance to explore and manipulate the classic determinants
of all of art: light, spatial form, and composition. Utilizing
these "tools" I typically call up imagery either from
my sketches or photos. A setting in a rural field just outside
of Hanoi where a group of young boys has just formed serves as
a launch pad. In another case, fragments, or shards, of historic
settings in Provence, France lead to an interpretive vision.
I am particularly interested in the continued exploration
of representing mood and feeling through multiple-plate print making
that involves both subtlety and complexity.
|
|