I make works on paper that range from intimate to landscape scale that are comprised of dense nets of loop-like marks.  Whether hand-held or stretching across a gallery floor the drawings are at once intimate and monumental, human and fallible gestures, made with everyday tools such as pens and acrylic paint.  The accretions of marks, in dialogue with minimalism and the language of data processing, act as screens or interferences gridding ethereal and trance like mists of color.  The drawings are an environment of uninterrupted stimulation, a mass amnesia of marks, courting the awe and reductive capacity of space exploration and interplanetary infatuation.  

            Here mark making is an optical elegy to writing when all paper and digital memory are ephemeral pulp. The loops—cheerful, anti-heroic gestures—are folded indicating where the paper has lived, traveled, or aged.  The marks, incessant and reverent writing, or obsessive and mechanized weaving, are at once stable, marred, noisy, staccato, and inconsistent.

            Recently, colors referring to ethers of sunsets and atmospheres of dawn posit a space that demarcates a time without time, or a landscape without gravity.  In this place, artificial light charges UV sensitive paint, the fulgor of stars spinning in space simultaneously set and rise circling in their orbits and neon glows in the distance.  I cajole glare, brightness, white outs and refraction to investigate the optical phenomenology of light for a futuristic archeology and a fictional science, space where skies are empty, flooded, starless, and a glow.