The natural world isn’t always my overt subject, but its principles and spirit govern the way in which my work develops. Starting with an excerpt of found text, a totem, a gesture, or all three at once, my drawings grow instinctively, sprawling across a wall or tightening into a thicket of words and imagery. My cut paper collages and installations examine the potential intersections of the visual and literary, treating language and the biological as kindred phenomena. Drawing directly from the natural world or artists’ renditions of it, my work marries a diversity of sources, including nineteenth-century botanical illustrations, 1970s patio prints, lunar surface maps, transcendentalist texts, early cartoons, and nineteenth-century adventure narratives. Past literary sources have included Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking-Glass, poems by Jorge Luis Borges, and Walt Whitman’s Leaves of Grass. Often incorporating layered and interwoven transcriptions, I merge found texts with drawn pattern, dissecting, fracturing, and reconfiguring these iconic texts into loose, free-flowing rhythms. This process endeavors to conjure the organic and the unruly while presenting an experience of the written word that acts more like fluid organism than fixed structure.
In my drawing Plant Time, I envision a landscape that is forever changing, subsuming humanity into the world around us. We dissolve within a meadow, forest, swamp, or desert, acquainting ourselves with our plant counterparts in a more deeply felt, sensory way.