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Drawing, in its broadest sense–which is to say, a way of seeing rather than any particular discipline–can be said to be the root of all visual art.  As an artist long committed to drawing, I have always been fascinated by the phenomenon by which a drawing creates life from line, and have sought ways to destabilize the viewer's perception of a life drawing as a contained, hermetic illustration. My drawings tend to employ dichotomous, conflicting strategies: abstraction and representation, distortion and precision, accuracy and sloppiness, non-complementary marks, various ramifications of visual "truth."  The result is a drawing that attains the visual illusion of a picture (depth, life) while at all times revealing itself to be a drawing (flatness, abstraction).  The life which emerges from the line is born of the roving eye, rather than the thing represented; the eye in this case being the eye of the artist as it composes in an improvisatory manner (with the hand as its executor and the drawing as its visual manifestation), as well as–and perhaps more importantly–the eye of the viewer as it wanders the space of the drawing, encountering or attempting to reconcile discontinuities, zooming from micro to macro, vibrating between depth and flatness, interpreting the wide variety of marks.

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