These charcoal drawings represent a new direction in my work that focuses on the role of space in the landscape. Finding a graphic structure that incorporates the complexity of lived spaces, where nature and human involvement go hand-in-hand, is paramount to my investigations.
This new body of work examines what Edward Soja refers to as the trialectic of space. Experience of the landscape concerns the particularly of place -- a layered topology of historic, social, and spatial elements. This exploration of a vernacular landscape attempts to redefine the role of the Sublime, and reveals a reinvented landscape based on memory, observation, and the accidental mark.
Two approaches embody these ideas. One approach utilizes recognizable elements of vernacular landscape with traditional mimetic devices such as positive and negative spaces and implied perspective in order to orient forms in space. These drawings seek a sense of a particular place (of the Finger Lakes region of New York State) based on memory, to capture life-force energy, momentary stillness, or contrast natural and human impact on the landscape.
A second approach incorporates calligraphic fragments and textured planes that inhabit composite "sites", geometric structures that intersect and display layered spaces. These square grid-like "surveys" present spatial ambiguities manifested by hard and soft edges, fragmented forms, transparent palimpsests, skewed perspective, and planar tensions. A new iconic landscape with multiple vantage points and loci, emerges as a result of these intersections.
This new body of work examines what Edward Soja refers to as the trialectic of space. Experience of the landscape concerns the particularly of place -- a layered topology of historic, social, and spatial elements. This exploration of a vernacular landscape attempts to redefine the role of the Sublime, and reveals a reinvented landscape based on memory, observation, and the accidental mark.
Two approaches embody these ideas. One approach utilizes recognizable elements of vernacular landscape with traditional mimetic devices such as positive and negative spaces and implied perspective in order to orient forms in space. These drawings seek a sense of a particular place (of the Finger Lakes region of New York State) based on memory, to capture life-force energy, momentary stillness, or contrast natural and human impact on the landscape.
A second approach incorporates calligraphic fragments and textured planes that inhabit composite "sites", geometric structures that intersect and display layered spaces. These square grid-like "surveys" present spatial ambiguities manifested by hard and soft edges, fragmented forms, transparent palimpsests, skewed perspective, and planar tensions. A new iconic landscape with multiple vantage points and loci, emerges as a result of these intersections.
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