My work is formally about mark making. My initial compulsion comes from the materials I work with. The imagery generated is an evolution of the improvisational and economic working of these materials. The manipulation and abstraction of loosely representational imagery has developed over time into an idiosyncratic language appropriated from pluralistic cultural traditions and deeply informed by the phrase that no French man has ever coined, or would take credit for- Le Juvenile de Vive. This language is fueled by experiences molting from my day-to-day toil in the aberration that is temporal existence. In this sense, they are diary or journalistic in nature and share some similarities with the literary traditions of underground comics and their autobiographical tendencies. Direct historical influences include Emaki-mono of Japan, Mixtec codices, and Russian Lubki. Translation: I like to draw a lot. I draw a lot of little drawings. I like using sumi ink because it puts down beautiful, flat, dark black lines. I also like the ritual aspects to its preparation. The ink comes as pine soot bound with bone glue into a stick form and is ground on a stone. Proper care should be taken when using the stone and ink. My stone and ink look like the site of a meteor strike. I do not take proper care of my stone and ink. I also like the water based qualities of sumi. I am much too lazy to fuss with washing out my brushes and with this ink I can just wet everything down, grind out the ink, and go. The current ink stick I am using is about 5 years old. I realise that I utilize the levity of humor to introduce emotionally weighted subject matter. Identity politics of aging, gender and social position riddled my process with quirky proboscis, fur and ill-fitted clothing. Weapons and petrochemical refuse were the logical conclusions to powerlessness and self-denial (guns, blades, and exhaust). Drawing to me has always been about space. The surface I draw on is important. The drawing as an object, it's physicalness and how it occupies space is something I find interest in. I also construct props that accompany the drawings. These props are made of solid wood and plywood scraps. The props began after I had extensive access to a wood shop. The constructions tend toward a toy like scale. Occasionally the props are bigger than life. The drawings are hung with straight pins or clothes pins on fishing wire or twine and in the whatever order that I pull them out of whatever container I have used to transport them in. The end result is a sense of non-sequential narrative filled with multiple smaller narratives, immersed in a space of inconsistent scale. Maybe it is the combo of displaced ubiquitous materials informally hung in an atmosphere of vertigo and detachment. Lately this has found expression in large figurative pieces made of wood using the bandsaw as a drawing tool, working from the wood scrap pile in a bricolage manner improvising a narrative to develop ideas I am working through at the time.