Here, I work primarily with my pen, pencil, my own blood, and with reconstituted chlorophyllin. In the project Archetypal, I try to reference, but a loose and almost ghost-like reference, to what might be remnants of the ever-rising Phoenix Bird, or the hoof of a Pegasus, or perhaps the pelt from the elusive Great White Stag.

The title refers to the idea of an archetypal language - existing always within us. The references are kept loose to the extreme because to me that is the state which these creatures and mythological characters have entered in our current era. They are not necessarily widely known; they are not the literal language through which we attempt to answer the questions that come with our human experience. At the same time, the method itself, of utilizing the language of Myth — whether or not we are aware we do this — is still a major method of solving our daily problems while we wade through this Thing called Life. Thus, like the language of Myth permeates like a ghost or a distant echo of our very origins, so do these bones and artifacts speak to the idea that this tool can never quite leave our instinctual artillery of tools to handle our Humanity and our one Life.

As a complementary allusion, I embrace an obsessive and systematic “meditation.” This is the practice to counting “aloud” onto the print. Images are usually shot 4x5,” scanned, and printed. I write and draw rhythms directly onto each print; like a musical score there are rests and crescendos; like language, there are entire stories, singular phrases, a concept, a word. Using pen, pencil, chlorophyllin, and blood [ sterile, fixed ], is a way to address an archetypal language of sorts — this language is not written or verbal; it is the language that all life shares. I cannot identify what that may be [ dark-matter, starstuff? ] however, blood, a life-giving-material, is a meaningful place to begin.

Together the drawings and the creature-remnants, bring to the forefront contrasts between our invisible and more physical existence making up the majesty that is our biohistorical experience.

Each work is unique.


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