y work originates from an interest in life’s dichotomies and the questions they pose. The forces of positive and negative, truth and untruth, real and unreal all carry grey areas that fall outside clear-cut definitions. These areas prompt my curiosity and have taken me to observe our political, natural, social and psychological worlds - all of which present the co-existence of seemingly contradictory principles and conditions.

The string and extruded drawings were born from the desire to express my thoughts about the use of language and communication skills. When I began the series, I used horizontal lines to represent illegible script. As in a page of text, the lettering was the positive space and the white background the negative. View the same text from afar and the visual information is reversed; the white bands become the positive space while the lettering recedes into a speckled backdrop. I use this switch from negative to positive to represent the confusion that often befalls when words and definitions are used to hide the truth. It becomes work to wade through layers of verbosity to seek out underlying truths.

As the work evolved, I sought to reconcile the positive and negative aspects of our ability to rationalize. While being a powerful tool to help us through our most difficult times, rationalization can also justify fabricated arguments. The horizontal lines came to represent a sense of peace in understanding the dualities of our human condition. The meditative aspects of the process ascended and i mmersion in a repetitive methodology enveloped me with tranquility. Just as ink flows from a pen and renders a line, so do thread and string flow from my fingers. While working, time and place seem to disappear. It is this process that brings balance and peace to my world.

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