page 5 and 6 of book 5 2010page 7 and 8 of book 5 2010page 9 and 10 of book 5 2010page 15 and 16 of book 5 2010page 17 and 18 book 5 2010page 33 and 34 of book 5 2010page 35 and 36 of book 5 2010page 37 and 38 of book 5 2010page 39 and 40 of book 5 2010page 41 and 42 of book 5 2010page 43 and 44 of book 5 2010page 16 and 17 of book 8 2015page 18 and 19 of book 8 2015page 20 and 21 of book 8 2015page 22 and 23 of book 8 2015page 28 and 29 of book 8 2015page 32 and 33 of book 8 2015

I started working in notebooks in 2005 after I left art school.  Initially, they were a way to keep working without a studio, but over time became site-specific artworks made in various locations.  The notebook continues to serve my practice as a place to bring together many references, textures, experiences, and stories. A dense temporal object, each book records over a year of time.  There is a double-sided nature to drawing in a book, and both the back and front of a page have equal importance in its structure. I have attempted to amplify this continuous double quality by the types of inks, pens and materials I use.  The inks impress and saturate the page with marks that can be seen on the other side of the paper. Parts of the image bleed through forming a starting point for the next drawing. Sometimes, I layer so much ink that the page becomes sodden, the moisture eating away at the paper to create holes which I then use as part of the work, creating windows throughout the book.  The front of the page sits on the back of the page, compressing images together to be read in a momentum without interruption.  This relationship and joining of two parts has informed my making process, and made me think of material as porous and durational in nature.