Jun 4

Nearly everyone has done some kind of drawing, sometime – directions from here to there, shapes in the sand with a finger or a toe, a precise memory, or scribbled daydream.

Drawings can verify life. If an object, idea, dream, pattern, place, fear, hate, love, or force of nature can be drawn, it can make more sense, verify the past and vivify the future. 

Drawing is a human invention for human use. We can do what we like with it in an effort to be understood. Drawings come from drawings, and are about life.

With many traditions, materials, techniques, and skills, the craft of drawing is a well articulated language with both the limitations and freedoms of any language.

Drawing is similar to painting, printing, carving, weaving, sewing, building, welding, forging, or any process or practice that includes materials, techniques, skills, and form.

The world of drawing is a circle. Anyone can begin anywhere – from or toward objects, people, places, situations, abstractions, memories, loves, hopes, and fears. We can draw from or toward objects and subjects with all the craft allows.


Aug 16

Apr 15

I am pleased to have become a prisoner, or practitioner, of the craft of drawing, with all its attendant historical traditions, including those of the materials and techniques which are part of the nature and the measure of any craft. As a practitioner, I have tried to let the limitations set me free.

During a lifetime, nearly everyone does some kind of drawing, even if it is no more than mapping directions, making shapes in the sand with a finger or a toe, or scribbling daydreams while listening to a lecture. Drawings come from drawings, but they usually need to be about life, in some way, for anyone else to care.

Every line is an idea in itself. Like a fence between neighbors, a river flowing, a kite-string held tight, or the trajectory of an object thrown, a single line can be charged with implications beyond its own dimensions, while an accumulation of lines may embody many unnamed beings of graphic origin. In spite of the fact that the whole of anything is always part of something else, I try to make my drawings feel whole through the discipline, or practice, of drawing. A drawing can become a credible fiction embodied within the fact of form.

Most of what I think I know, I know from having drawn. If an object, idea, dream, pattern, place, fear, hate, love, fact or force of nature can be drawn, it makes more sense to me. Drawing can verify experience. My kind of drawing begins within the body – the kinesthetic self, from the inside out, combining what I see with what I know. Because a line can be itself and something else as well, the character of line and life are similar to me.

Each drawing is made from the inside out, leaving a trail for others to follow from the outside in. Drawn lines show time. Even intervals, or spaces, between lines show time. I want my lines to reveal the rhythms, gestures, pressures, speed, and life of the hand that made them, as nature might if nature drew.

I observe my own hands as they go about their work from the details to the whole. Hands are curious about what to draw, so their actions prompt reflections, which prompt interpretations, which stimulate imagination and engender meaning. Each new line transforms the drawing it lives within. We usually get to see a drawing from beginning to end, edge to edge, with very little hidden or concealed. What was drawn is what we get to see and know.

“I try to see the lines as material things that could be lifted off the paper by hand. I draw upon the drawing until I begin to see some semblance of things I recognize. And then, looking for any way to create the appearance of worldliness through the action of drawing, I ask “What is going on here?” When I have done all that I can to make that clear, I stop, and the drawing is finished to the extent that I can finish it.”

My drawings begin with the practice of drawing, as drawings about drawing, using traditional techniques of pen and ink on paper. The liveliness of a line can be its primary reason for being, originating from the dot, and ending in form. The techniques are mixed, mingled, and juxtaposed in an effort to make a drawing that appears to represent some aspect of the physical world. In addition to whatever image a drawing makes, the drawing exists as a family of lines, with its own story to tell.