I began the "Rolled"/"Process Work" series in 2006 as a way to reverse the relationship between paint and canvas. I think of each piece as an inside-out painting, where the paint takes on the role of connective tissue and the subjects of each composition are the materials themselves. My materials vary but are mainly rooted in the traditions of painting, drawing, and record keeping. This series also inevitably speaks of archiving, of amassing, and of the passage of time. I view each individual barrel as a scroll, as a mini tabula rasa containing my unspoken and unrecorded manifestos, recording my will, and physically measuring time. The process of fragmenting large sheets of materials into small sections so as to then individually roll, bind, color and finally arrange each piece into a mosaic, yields objects that engage equally the visual as well as my haptic impulses. They produce a sense of the overall, the eye is moved around the surface, grids and patterns emerge and dissappear. I remain outside, trapped in their surfaces, in their materiality, in their process. In making this work, my intricate movements channel those of a jeweler: still body - only the fingertips are moving - hours of discipline, a factory worker if not for the present mind.
Last year I began to use filter paper. I, like the alchemist, with each small barrel, sift through/out the pigments, using water as the purifying agent to imbed ink rather then mark the paper's surface. Although the ink is archival, filter paper is not. It is designed to perform in response to the sun, the humidity, to the impurities of its surroundings. I anticipate these pieces will mirror the alchemy of our lives, our minds and bodies in a continuous process of transformation.