The concept of these drawings germinates once again in minimalism, the non-objective, and self-referentiality.
Self-referentiality was and is, for me, a mainstay in an artist’s orientation in approaching any work at all. Configuring it is a means to appreciate the process as it goes forth and increase the artist’s mindfulness of the direction of the process.
Each drawing is colored pencil on black gouache. Each measures 30 inches in height by 44 inches in width.
These panels reflect my new environment. The mountain “lines” represent the Berkshires in MA. And the branches images come from a template I made of a drawing I did of a branch broken off a dead tree/bush once planted outside my door.
The incorporation of the drawings into the panel format demonstrates the influence of Japanese panel paintings from the turn of the 20th century.
This series of drawings is one of the best explanations of my process coming out of using arc templates to create shapes, characters, and language. I did these after I did the three large Healing Series paintings.
They are actually drawings for nine paintings. Each small square was intended to be 10 inches by 10 inches. The text on the left of the first one comes from The Communion of Spirts, a catalog on African-American quilters by Roland L. Freedman, 1996.
I love these drawings. They are a complete statement.
They are each 22 inches square, colored pencil, ink and acrylic on rag paper.
These drawings have no meaning. They are mere vehicles to move the colored pencil around the paper in a fairly uniform way. They are all small, maybe 9 inches by 8 inches. A contrast to the large black and white drawings also executed in this year.
These pieces are all on canvas. They each measure sixty inches in height by twenty-two inches in width.
They are made with acrylic, colored pencil and marker. The first layer is acrylic and forms the background. The second layer traces the shapes left by the dripping paint with permanent silver marking pen. The last layer uses a stencil made from a drawing I made of a tree a long time ago. The shapes left by tracing the stencil are colored in with colored pencil.
The title of the series comes from a statement made by Gene Youngblood in a talk on the internet celebrating the 50th anniversary of the release of his landmark book, Expanded Cinema. In the talk, he and the moderator were in an exchange regarding how the global society can change using technology as one of its means.
My affection for trees stems from a lifelong interest in how they create intimate spaces in which to linger and how the shadows of the branches are embracing and graceful and evanescent.
Trees are integral to the earth’s environment. The more that trees are brought into human consciousness, the more concern we have for them. Trees have their own forms of growth and communication. They demonstrate when they are hurt and when they are thriving. We cannot take them for granted.