For me drawing is an act of "seeing" the unseen. The line in my work functions both as a trace and as a mark on its way of becoming. It is an open ended act that is able to hold ambiguity and emergent qualities. In a time marked by polarization, extremity, and rigid narratives the act of drawing takes on a different turn — not representing a solid stance or a finished object but, attending to the margins — to subtle information we pass, fragile vital signs of life.

Drawing is able to foster reconciliation between polarities and fixed narratives, to create new ideas, language and promote a broader view of what we percieve as “reality”. What may appear as a dark place in can reveal itself surprisingly as a source of light; within the wild and brutal spaces a line of compassion can grow.

Process, movement, body, and language

Richard Serra famously stated “drawing is a verb”. He argued that every form of drawing—conceptual, metaphorical, emotional, linguistic, or structural—arises from the act of doing itself.

Similarly to this statement, Prof. Eugene Gendlin, founder of the Philosophy of the Implicit at the University of Chicago, emphasized the emergent qualities of experience. The practice of Focusing Gendlin developed, is much like how I view the practice of drawing - an act that allows to remain within an experience that has not yet been articulated into language, to sense its unknown texture, and to allow it to gradually clarify as it develops into a new symbolic language.

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. Over the years I have been influenced by ideas the stem from dance, movement. the body as well as the breakdown of gestural abstraction to parts and their exploration. It is my view that the practice of drawing is pivital today. As screens, artificial intelligence, and overload of information flood our lives, the simple present act of drawing - pencil-paper-and-line, offers us what we have lost - our presence.