Drawing lives in the heart of my art practice. The line in my work functions both as a trace and as a mark. is an act of becoming. In in era of closed and fixed narratives, drawing for me is able to hold ambiguity, emergent qualities. My work explores the tension between polarities. It is through the quality of drawing that I explore the possiblilty to fostering reconciliation between these polarities. In my drawing What may appear as a dark place can reveal itself surprisingly as a source of light; within the wild and brutal spaces a line of compassion can grow.

My work is informed by the two major approaches connected to themes of proccess, movement, body, and language:

Drawing as a verb rather than a noun: In 1977, during an interview, Richard Serra argued that every form of drawing—conceptual, metaphorical, emotional, linguistic, or structural—arises from the act of doing itself. The act of doing.

The “Philosophy of the Implicit” developed by Prof. Eugene Gendlin at the University of Chicago, Gendlin originated the practice and methodology of Focusing. Gendlin sees the body as not in interaction with the world; the body is the interaction with the world. The living body is not merely a biological system, but an intelligence that knows beyond what language can articulate.

My artistic path has been interdisciplinary, spanning multiple disciplines. My primary art training took place in New York at the Arts Student League of New York, specializing in abstraction. I studied with a teacher who was a student of Vaclav Vytlacil, the chief assistant to Hans Hofmann—one of the formative figures of modern abstraction in the United States, whose plastic language still resonates until today. The gestural drawing and abstraction