on a walk, nearly spring, salt lake
WABI SABI 16
glue, cracks, sunshine, spring
nono, the floor, salt lake city
wabi sabi 15
frost, the station wagon, spring?
after rain, the halos of fallen things, the neighborhood
WABI SABI 14
Is it possible current events are influencing my line of sight? Seem to be mostly looking down, looking for grounding.
Ice, sun, the parking lot.
Salt (teeth?), cracks, cold.
A trap for mosquitos, Nayarit.
WABI SABI 13
salt, breaking up ice, a storm
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WABI SABI 10
The botanical gardens, recovery of some kind, contingency tiles. Still San Francisco.
WABI SABI9
Sidewalks, gutter plantings, acts of mid-process demolition, a manic wind at Ocean Beach, detritus. San Francisco.
WABI SABI 8
Thinking about control: control that humans seek to impose always on their environment, their work, their lives. In drawing, control guides the implement on and across the paper. How can we call upon looseness, freedom and innovation in drawings if we go into our practice always with the intention of a specific result? I posit that if the materials are allowed to travel at their own pace, if media are laid down without expectation, they can form their own relationships. Incidental drawings do this whether I posit anything at all, but documenting the discovery is important. Here are a few more.
WABI SABI 7
Walking with an eye out for incidental marks and compositions, and trying to come to terms with what appropriating them might mean. What is lost when these trappings are assimilated into a drawing, do they evolve? Is some raw essence neutralized? I'm thinking about our relationship to corporeal mark making, to the energy and looseness of gesture -- those things that, once we learn to control line and form, we lose. Those things we have lost as we move towards sleekness, speed, ease, convenience, digitalization (what ho! this is being typed and transmitted digitally is it not?) But these bits of evidence have preserved that to some degree, (naturalist-style?) Now they've been distilled in a photograph, and they will likely go through a third iteration, and land on paper. How much of the original, accidental layering of information and experience is being honored in this situation? Is it gone as soon as it is captured and pinned down?
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WABI SABI 6
WABI SABI 5
WABI SABI 4
WABI SABI 3
some new experiments
repurposing collagraph discards
WABI SABI 2
who/how?
on light 2
a different kind of discard
remnant/discard
most often, during printing these days, i am interested in the leftover and overlooked pieces of the work. those things that are called 'finished', bounded by edges and pinned up are all very fine, but there is something about the fragments that is so captivating. perhaps it is their inimitable nature? their one off-ness? their identity rooted in the utilitarian -- pieces used for masking off information from previous printing runs, or for protecting the blankets, or shorn off other supports. at any rate, they have become so precious, so strangely virtuous, i find myself in a deadlock - to use or not to use? to affix and pen in, or to leave in the vast accordion files stuffed in my catalog of bits and bobs?
