Psychic Interiors2016-present

A passage is a means of penetrating. A drawing is a two-dimensional surface. A two-dimensional surface is impenetrable. An impenetrable surface is uniform. A break in uniformity is a site of penetration. A site of penetration is a passage.

Perfect uniformity is an impossible ideal, especially in the case of hand-rendered artworks, so the breaks are inevitable. It's these breaks that create the niches through which the mind's eye can pass. In this way the drawing inhabits two planes—the expanse of its surface and the passage through the break.

The images themselves are in a way decoys; they are not totally devoid of meaning or purpose—they set the mood, provide a hint to the central meaning, and a comfortable space for the eyes to rest—but while they are the most obvious feature, they are not the core of the work. The images are important because the central meaning cannot be beheld directly, it must simply be felt, or glimpsed perhaps from the periphery.

The theme central to these images is the limit of comprehension; not necessarily the unknown or unknowable itself, but the nature of not being able to know or to grasp.