I think about moments of intersection when drawing. Whether it be an intersection of roads or an intersection of two bodies, I have a fixation on forms that are intertwined with spaces. In my drawings, you are able to see a register of my movement through time and space as I work, slowly inching around my table, pen in hand. However, you aren’t forced to see the work at the pace which I made it. Instead, you are able to read all my movements through time and space collapsed onto a single page. It also allows for an emphasis on flow, as a state, action, or concept.

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My paintings utilize handmade egg tempera for its optical color mixing on top of clear gesso which creates milky, foggy surfaces to paint on. These materials aid me in building layers of delicate color and transparency, elements that remind me of the divinity associated with stained glass. Recently I have favored painting on found or built structures; old mirrors or books built of frames. Transparency and translucency function in my paintings similar to how repetition and time function in my drawings. They hope to display simultaneity: many elements working in tandem, always present, just changed through different perspectives. Painting also helps me form my understanding of connection (to land, to body, and to others) through visual metaphors. Lines as energy flows, loops as beings, intersections as connections.

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Books have become exciting formats for my drawings and paintings, due to their suggestion of a narrative structure. Questions of beginning, middle, and end, are all embedded in the book formats, but impressions of past and future are allowed to show through the translucent paper or surfaces I favor. Writing has allowed me to confront similar confusions of time with language. I write as a way to unfold images that permeate my memory.

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Time is important to me. Location is important to me. Ideas of how these two factors interact with our bodies are very useful in understanding our world, whether it be through ideas of simultaneity presented in quantum physics or ideas of symbiotic relationships presented in biology. Karen Barad’s thoughts on intra-action that stem from her understanding of quantum physics as applied to social theory has built a vocabulary for me to discuss simultaneity in my work. Knowing we exist, on smaller scales, as a bubbling sea of matter, helps me break down and play with the boundaries of “you” and “me”, “us” and “them”, and space and time. All these shifts in perspective are respite in a seemingly linear and binary world. Let us be flexible! Yet barely tangible. Almost concrete, always transparent.