I use photographs of architectural details and building sites as bases for many of these drawings. Photographic notations of places I have visited are imprinted on to the paper through a transfer process. An imperfect process to shift the image and make tears and erosions in the paper as it stains. The paper, initially white, is now corrupted by an image, a starting point for me to work on top of and build on. I think of these surfaces as maps, which are constructed over a period of time with ink and embroidery.
Similar to my notebooks, the double-sided nature of paper initiates many drawings. I work in many scales articulating various levels of intimacy and space. The relationship between the size of the work and the body is significant as the work is read, made and processed in contrasting ways. Scale informs both the nature and the experience of the work. When it is small, the work feels more private and internal: possessable, holdable and readable. When it is larger it invites a more bodily engagement and the work becomes a more immersive environment. The changeable meaning of the work remains a lure for an artist who seeks evasion.