Although I've always been a creative person, it wasn't until I entered my MFA program at Vermont College that I began seriously pursuing a career as an artist. I gradulated with a specialization in installation art, but went on to study oil painting for years in workshops held at The Art Students League and Studio Incamminati with some of the world's most prominent painters. I always knew, however, that my true strength lies in drawing. After years of struggling with the medium, I finally found an artist I could relate to, Annie Murphy Robinson, who has become not only a teacher and inspiration, but also a friend. Annie has influenced my work profoundly. We both come from similar backgrounds and because of this she has been able to help me find a more honest, authentic way to express my own experiences.
My laborious technique involves meticulously sanding charcoal off of heavy printmaking paper, typically working in a 40" x 30" format or larger. I start by laying down a foundation of charcoal over Arches 300lb printmaking paper and then use 1000-grade sandpaper to create a medium value. Next, I use Faber Castell pencils to set up the drawing, measuring it against the original photograph which has been sectioned off into squares. This method is tedious and time-consuming, but I enjoy the process and find that it suits my style of wokring. I also love the way the charcoal creates a dark, moody environment. I think of this process as the image appearing through smoke. Most of my work captures figures in silent moments of contemplation. I look for models who have the unique ability to transport the viewer into their inner worlds, giving us just a glimpse at the emotions lying right below the surface. To me, these images seem to possess an almost magical quality.
* This statement has been provided directly by the artist in association to their 16th International ARC Salon entries. This content has not been edited for typos or grammatical errors and has not been vetted for accuracy.
