ABOUT THE PROCESS
The process driving this series was a reflection for a need to push boundaries to create work with a meaning that speaks what can't be said. Working in Black in White allowed me to open that dialogue, and I continue to open it.
A lot can be said about the duality found in the use of the specific materials and pace of each piece. The process of creation riddled with the ritualistic rhythm of tearing, setting, and imprinting on blank sheets. My compulsion drove me to create dozens of individual imprints on what would become battered butcher paper, a material not meant for archival purposes but transient mirroring the human state of mind as it tends to wander and is plagued by ink serving as a reflection of thoughts and anxieties. Gestural marks were shaped by the physicality of action and brushes were traded for hands, fingers, arms, and elbows.
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Ink splatters morphed into people, demons, and worlds, while water both acted to dilute but simultaneously damage, the paper no longer a blank state, as water and ink was sprayed, splattered poured and pooled. And yet the paper survived, beaten, buckled, but now in this new hardened state as its texture had morphed from smooth to now rough. The intimate manner of creation leaving its mark and curiosity in its wake; only one question remained: "What do you see?"
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