envelope drawings, sent unprotected via USPS to Ohio (Bluffton university) for my solo show (time/line) opening on 10.27

This exhibition will mark the end of this series of line drawings…
(It’s the end of the line)

as one of the artists participating in
ART in ODD PLACES  »  2014: FREE
NYC—OCTOBER 9-12th / along 14th street

my project is called—stria: lost time, misplaced moments
Updates, documentation images/videos, times and locations for daily performance drawings will all be posted here and on the project’s tumblr: losttime-aiop2014. You can also check out the official festival website to see all of the participants

project description:
In urban environments the present is often overlooked or ignored. As we transition from place to place our minds are occupied— revisiting our past or anticipating our future. The present only exists as a fine point along the continuum of becoming. It is the threshold where future is transformed into past, where successive events form a perceptual unity that can be accessed without needing to call upon our memory. The ephemeral, performative drawings of this series are created and confronted in thresholds, empty storefronts and interstitial spaces along 14th street, rendering passing moments as a topography through the accumulation of line. Each fragile, impermanent line is a record; a tendril of time holding sensation, attention and intention. Each drawing is a vessel containing these moments, a metaphor for the way a series of cognitions, sensations, minutes and seconds coalesce in our minds— transitioning from the perceptual present to the substance of memory.

The process, materials and form of this series evolved as a means of evoking binary oppositions— issues of temporality and permanence, strength and fragility, fullness and emptiness, presence and absence that resonate with our conception of and relationship to our memory. Once completed each drawing will last for a finite period of time in its location. While the locations will be pre-determined each drawing is made extemporaneously— no compositional decisions are made in advance, each line is made in reaction only to the line that precedes it. Lines are repeated and accumulated resulting in the emergence of form, with the resulting structures often resembling topographic landscapes or flowing fabric. Each drawing ends when the available space is filled or if a prolonged hesitation is experienced.

These works liberate the act of making from the confines of the studio. The resulting works are simultaneously public and private. They are exposed, temporal, fragile, vulnerable, malleable— free. Free to be engaged, free to be destroyed by intention or accident. Free from the sterility of the overly white walls of a gallery, their driving concept or rationale will not be readily known to a viewer. These works are free to be experienced and considered without the support of an aesthetically elevated context. In this way the works are free to be judged, considered, reacted to or disregarded solely on their own merits—

The drawings that make up this series will be both created and confronted in transitional spaces along 14th street Between Fifth Avenue and Tenth Avenue. Accumulated line drawings will be rendered in and briefly occupy vacant storefront windows, thresholds, near subway entrances and other overlooked liminal spaces. Both the act of making and the resulting work is unexpected, temporal, exposed and vulnerable. In the heavily trafficked areas pedestrians and commuters will brush against the unfixed, malleable drawings, changing them uncontrollably. While brief, this contact affects both the work and the passerby, marking each in the process. The drawing is marred, lines are eroded or broken and transferred to those who walk past. These people unknowingly carry that brief moment with them across the city and throughout their day until they look down and see the few scant stripes of white on their leg and brush it off.

official festival website

(via 7knotwind)

a shadow too heavy to drag behind me
a drawing made by erasing, in which the debris left behind constitutes the finished work

42 hour durational drawing performance
completed in 7, 6 hour shifts over the course of 1 week—
documentation images above were taken at the end of each shift and are presented in reverse chronological order.

  • powdered graphite is buffed and burnished on a 7’ x 8’ section of wall over the course of 6 hours
  • each subsequent 6 hour session is spent methodically removing the burnished graphite from the wall surface using white plastic erasers
  • at the end of each 6 hour session a documentation image is taken
  • all eraser shavings are preserved, as they are the drawing
  • the shavings are a physical quantification of time—
    each shard is embedded with the graphite that was once on the wall
    and the physical exertion required to remove it

detail from summer 2014 drawing experiment—
graphite and honey (on wall surface) 
the air in my studio felt significantly heavier while this was on its walls

untitled drawing experiment 2014
(a drawing made by the touch of others)

72 pages (11” x 17”) were each buffed  for 1 hour with graphite and bare hands, folded and stacked. (as seen here)

18 participants are given white cotton gloves and are allowed to touch, handle and engage the pages in any way they desire with the instruction that they are to return the pages to the stack and pile the gloves on the floor when they are done.

The resulting drawing is made on the gloves and is a record of the participants’ touch

The stacked pages are bundled (as they were left) with cotton twine