“I spent 400 hours in a dimly lit, 100sq ft studio drawing accumulating, stylized leaves in white oil pastel upon a 5ft by 30ft sheet of white yupo plastic. I used a sun lamp to help illuminate the drawing marks as I was working. The nature of white on white required me to constantly reposition the light in order to see and progress the mark making. The process was at points meditation, frustration, labour, absence, and presence.”
What provokes the need to engage in brutally repetitive art processes? How can visual artists create art in good faith in order to restore trust long broken between visual artists and the audience? Is the display of artistic labour in itself valuable?
Exhibited at Wyckoff Ballroom in 2022, Brooklyn, NY.