I use only one tool--my index finger. I manually rub the pigment into the surface of the paper. This technique gives the most dexterity and somehow the warmth of the hand transfers to each drawing.

Inspiration is concealed in the pages of history or reels of film. The images I draw from surface from the vast well-spring of historical sources. These can be vintage visual documents such as books, archives or old movies. This fascination with cinema stems from my upbringing.

My studio production focuses on a personal and investigative discourse surrounding the relationship of drawing to lens based media in modern culture. I use only one tool--my index finger. I manually rub powder charcoal into the surface of the paper. This technique gives the most dexterity and somehow the warmth of the hand transfers to each drawing Inspiration is concealed in reels of film. The images I draw from surface from the vast well-spring of historical movies. I m fascinated by the elasticity of film. Sequences that unfurl through cinematic time and space become transformative and tangible as charcoal drawings.
Lately, I ve been culling from art house cinema, particularly from Italy and France. I am interested in the moment when the dramatic structure of the movie plot changes in an instant. As with movie stills, my drawings are free-standing islands with a myriad of possible interpretations and interconnections.