Growth / Grossissement

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"Growth (Wood Ear)"

"Growth (Wood Ear)", Charcoal on paper, 50" x 76", 2013

Growth (Wood Ear) [detail]

Charcoal on paper, 50" x 76", 2013

Growth (Oyster)

Charcoal on paper, 50" x 38", 2013

Growth (Oyster) [detail]

Charcoal on paper, 50" x 76", 2013

Growth (Cerebellum)

Colored pencil on paper, 16” x 16” (12” oculus), 2012

Growth (Node) [detail]

Charcoal on paper, 50" x 38", 2012

Growth (Node)

Charcoal on paper, 50" x 38", 2012

Growth (Bouquet)

Charcoal on paper, 50" x 38", 2012

Growth (Tendril)

Charcoal on paper, 50" x 38", 2013

Growth (Stem)

Charcoal on paper, 50" x 38", 2012

Growth (Stem) [detail]

Charcoal on paper, 50" x 38", 2012

Growth (Wing)

Charcoal on paper, 38" x 50", 2012

Growth (Wing) [detail]

Charcoal on paper, 50" x 38", 2012

Growth (Garden)

Graphite on paper, 20” x 20” (16” oculus), 2012

Growth (Extensions)

"Growth (Extensions)", mixed media on panel, 9 (6" x 6"); 2 (7" x 5"), 2014

Growth (Extensions) #10

"Growth (Extensions) #10", mixed media on panel, 6" x 6", 2014

Growth (Extensions) #9

"Growth (Extensions) #9", mixed media on panel, 6" x 6", 2014

Growth (Extensions) #7

"Growth (Extensions) #7", mixed media on panel, 6" x 6", 2014

Growth (Extensions)

"Growth (Extensions)", mixed media on panel, 9 (6" x 6"); 2 (7" x 5"), 2014

ARTIST STATEMENT // GROWTH 

My drawings are human-sized. The scale of the work encourages the viewer to perceive the organic forms in relation to their own body and memory, as extensions. I refer to them as “maps of consciousness”, in that they are an investigation of drawing as an active tool in cultivating presentness. I seek to engage the viewer in the act of looking-as-thinking. They are not only about beauty and mastery but a conceptual engagement of drawing as a personal and political act. Means and content resist resolution but stay in productive tension, opening up the viewer’s own ways of knowing.

DÉCLARATION DE L’ARTISTE // GROSSISSEMENT

Mes dessins ont la taille de l’humain. Cette échelle des œuvres conduit l’observatrice/teur à percevoir les formes organiques en relation à son propre corps et à sa mémoire, comme des prolongements. Je les considère comme étant des « mappes de conscience » : une exploration du dessin en tant qu’instrument d’action pour cultiver la présence. Je cherche à susciter, chez l’observatrice/teur, l’acte du regard en tant que pensée. Ne sont pas en cause uniquement la beauté et la maîtrise, mais également une dimension conceptuelle du dessin comme acte personnel et politique. Sens et contenu résistent à la résolution, maintiennent une tension productive qui élargit, au contact du regard, les manières de savoir.