My work emerges from a sustained engagement with materials under pressure—physical, psychological, and perceptual. Whether using tar paper, wire, mesh, or the human figure, I approach each piece as an investigation rather than a premeditated image.
The tar paper forms originate in construction material—roofing, containment, protection—yet when cut, bent, and fastened, they begin to register stress, tension, and resistance. Staples, wires, and ties function as sutures: not decorative elements, but necessary acts of binding. The work holds together because it must.
The suture pieces extend this logic. Fragments are joined under constraint, often awkwardly, sometimes brutally. The joins remain visible. Nothing is concealed. The work records its own making—its repairs, its failures, its attempts to stabilize what resists cohesion.
My life drawings operate within the same field of pressure. The figure is not treated as an ideal form or expressive surface, but as a site of forces—weight, imbalance, compression, extension. I begin with the gesture, then locate structure: rib cage, pelvis, axis. From there, the drawing develops through correction, erasure, and insistence. What remains is not a finished image, but a record of sustained looking under time and physical constraint.
These works are not resolved into messages or narratives. They register forces as they act on material and form. Each piece is a document of an encounter—between material and stress, perception and resistance. There is no final resolution, only a point at which the work holds, however temporarily.