I do drawings in series, as project ideas, working a theme from the
sub-narrative or unpredictable edges. I define a drawing that works
as one that cannot be used to protect oneself from one's own sense
of wit.
I think the social or political begins to live in a drawing through
unexpected situations, allowing one to savor a small fragment of
context. The acceptance of numbness from over stimulation by a contemporary issue is a facing of the page. It's a daily page made
of rag and paralysis waiting for the stumbling of a wet brush. The
act of trying to feel something that is at least alive in the hand. A
drawing diary against the blunting flow of information too cleaned
and trimmed to support the weight of its own absurdity.
One series is about artillery. The world of iron, the love of the cannon,
the big gun. The way in which it has become rather like shopping for
a new way to blow something up, with all the extra's and air condition-
ing, and even a shell can have a little brain hunting its target in flight.
Another series is about the political far right. I want to stop at some
of these red and angry faces, and sleep in a back room inside their
skull. I want to build a little tiny fire, out of the dung they have left
drying on the floor of the nation. I want to do it for free. While they
are paid millions to shit on the nation's skin. It feels good. It helps
me laugh. It warms me to cook with a dung fire collected from bullies
in the school yard that shit in public with no remorse.
I often draw animals, animals that claw their way into our confusion
about our animal selves. Ideas on all fours.
This work also is about loss, mortality and a nature that feels hope
I often draw animals, animals that claw their way into our confusion
about our animal selves. Ideas on all fours.
This work also is about loss, mortality and a nature that feels hope
along with the fragile life of things.
