TERRI BROOKS

Rising Sun, 2012, oil & enamel on paper mache, 94 cm approx

What are you working on in your studio right now?

I have just returned to Melbourne after a month based in Florence and Frankfurt . While I was away I visited many museums, the two that have stayed with me were the Kunsthaus, Zurich (for the Cy Twombly sculptures) and the Emil Schumacher Museum in Hagen. I got several ideas while I was away from the studio which are a development on the ideas I was working on before I left. So my current work stems from this. I also have a request for two big paintings, which is almost a commission, based on my earlier gestural work. So two lots of work are going on in the studio right now, which is a little unusual.

Two Diamonds, 2012. Oil, enamel, pigment

and PVA on canvas, 2x37x37 cm

Can you describe your working routine?

I paint for some hours nearly every afternoon. I do admin stuff at night or in the morning. As well as this I spend time thinking about painting and looking at other artist’s paintings on the web.

Can you describe your studio space and how, if at all, that affects your work?

My studio runs across my property and is as big as I could make it. I also have a storage office room in the house. I built the studio (which is a shed) in 1999 as a place where I could make a mess. The natural light is not great and this affects my work during the change of seasons twice a year due to the reflected light.

Tell me about your process, where things begin, how they evolve etc.

I walk several times a week for health reasons in my local environment or anywhere. In the studio marks I make remind me of marks I see in the environment and I start reflecting on what I have seen on my walks. Sometimes I get a flash of an idea, or a leap and this is what takes a painting to another plain. I work on several pieces at once and there is no one way of doing things. Some start from a thumbnail sketch of a clear vision and others come from a general conceptual space. Sometimes a better idea presents itself in the process and the ability to carry this through is the challenge, the excitement. Some flop when the idea is not strong enough and I get lost and it becomes a torrid affair that ends in the bin.

 

"‘slip board’ is the sort of thing that I am attracted to in my environment"

What are you having the most trouble resolving?

When a painting is resolved. It takes a lot of time deciding that. I have three places in the house where I hang works. Some works can sit for weeks while I ponder whether they are finished or not. If they go back to the studio it must be with a ‘prepared to lose what is there’ approach.

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

I need a changing muse of materials (to keep the experimenting and therefore the work interesting and alive). At present it is multiple panels, shaped canvases and paper mache.

 

Memory Sketches

What does the future hold for this work?

I am trying to capture the essence of my local place, but hopefully it is also a generic place, the city.

Is there anything else you would like to add?

The theme is always constant, and that is nature in the city, or nature reclaiming the made city and the random abstraction therein.

 

ZigZag, 2012. Oil, enamel and pencil on canvas, 153x153 cm

JOHN CRABTREE

Mnemosyne, mixed media on heavyweight paper,

65 X 48cm, 2012

What are you working on in your studio right now?

I suppose what I am doing at present is playing and experimenting. I feel the need to take time off from the painting as way of refreshing the way I use materials so using different backgrounds etc, I always liked the dynamic of foreground/background. I am using pages from children’s books at present so I suppose that’s what I’m up too, freeing up my approach and having fun and trying to find my creative direction and how I want to work in the future.

Can you describe your working routine?

My working routine revolves around my job as a bus driver, the job I do is sort of two extremes-full on with the demands of the job and the solitude and withdrawal into my creative world (I like the juxtaposition).Generally I get to the studio for about two hours a day-but generally dictated to by what I’m doing at the time so no specific routine. I have been down at the studio in the early hours if something comes to me concerning a painting, generally I work quite quickly, building up stages and layers-the latter stages I usually ponder and contemplate for awhile- if it comes it does if not I move onto something else and let it rest for awhile.

Can you describe your studio space and how, if at all, that affects your work?

My studio is a mess. I just work better in chaos, the incidental things happen that way for me. I was reminded that Picasso commented if he was in prison he would draw in spit, possibly emphasizing the indestructible creative spirit. Maybe there is a bit of an anarchic element in me.

I love the fact that when we are working our perception changes as though we are waking up; we look around and see perhaps a mark or pattern that seems relevant-we say aha-that will do etc. I do understand the energetic dynamic of the studio and the 'temenos' thing-maybe that will be something for the future.

Alter to an Old God No4,

watercolour paper, mixed media, 65x48cm, 2012

Tell me about your process, where things begin, how they evolve etc.

I don't really have an agenda so there is no specific work or plan, I tend to start from scratch. I usually start by setting up three to four pieces of heavyweight paper, my favored way of working is with blackboard paint generally thinned enough and applied with a soft brush, to get sweeping circles and lines; a sort of instinctual approach I love the sensation of the flowing paint. I don't usually edit, if it’s in my head I run with it so not much discrimination. I tend to think less and less nowadays. Thereafter it is a process of building up and deconstruction (more deconstruction really) until I hook into something, a mark or a colour etc. Generally it is an intuitive way of working, techniques and tools are the means whereby I can achieve a feeling or state where there is a sense of engagement and connection with what I am doing. I like the idea that we disappear, we enter a timeless state, the picture begins to talk and we respond in a way that we are alert, fearless and conscious. It is as though we follow instructions, the poetic and imaginal prompts to where a line goes etc., a picture morphs in many different ways, it changes us and' demands' of us something way beyond our conceptions and abilities at the time, that’s the magic.

I often see the parallels with creative practice and the meditative and contemplative traditions.  I do believe for me that painting is a path to self realization. I often do not know what I am doing and it can take many years for the 'penny to drop' and I know where a picture came from and the meaning and significance it embodies. A fully realised picture to me is one that liberates the heart that includes and embraces who we are; the spiritual and the human. Essentially a painting/surface is not one dimensional but a boundary between different realities, the mythic extraordinary and the mysterious. Paintings connect us to the universal and transcendental in context with the world it's suffering and joys. What appears in and around us gives meaning and bestows upon us an awareness of the present and the embodied reality in which we live. My work is more about signs and surfaces and the inner landscapes of memory and emotion. I love artifacts, fragments and schematics. The pictographs and petraglyphs of the indigenous people have been an enduring source of inspiration

When The Eye Opened Toby Disappeared,

55x45cms, print on lithograph paper, 2012

Toby insisted,can you make this Tortoise fly mister‎

55x45cms, print on lithograph paper, 2012

What are you having the most trouble resolving?

I think the difficulty in resolving a work is as Picasso commented, is finding a motif, an image that carries the creative momentum of the work into a new field of discovery and enquiry that is integral to the piece and brings everything into a working whole

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

I do sometimes, I love the oil sticks and oil pastel but tend to have a limited palette of colour. I tend to use what is to hand and is available at the time so yes I feel we need parameters-the materials we use often evoke different responses and ways of working in surprising ways-the tactile and sensuous-there is a synchronicity with these things.

What does the future hold for this work?

I am more confident about what I do and do enjoy the feedback-so exhibiting a little more might take things forward, it is a good thing to present your work as it can be a guide to and a re-evaluation of what we do. It is the realisation of what one does that is the most important.

Untitled, mixed media on heavyweight paper,

65 X 48cm, 2012

Is there anything else you would like to add?


I think artists are absorbers we take things in from the outer and inner worlds (the mythic poetic and imaginal) I think we go through a process of juxtaposing and finding a point of engagement where we connect then begins a process of translating the vision we have through our various idiosyncratic  filters into our own language and expression. My artist’s statement is I paint to 'dis-arm' myself. I like the fact that we can diffuse the' warheads' of prejudice and division. 'Disarming' and 'laying down your arms' is a surrendering and embracing of who we are fully and unconditionally, in the end we say it with paint and brush.

BRIAN CYPHER

untitled, 2012, acrylic on paper,11 x 15"

What are you working on in your studio right now?

There’s always a mix of drawings, paintings, and various works on paper in progress. I’ve been making smaller collage and paper constructions (which is a recent new tangent for me to explore). I started my first works on panel at the end of last year and I have a dozen or so that are ready to go. I'm really wanting to do some printmaking again... monotypes and drypoints. I really enjoy the surrender that happens when working with a press; you become a victim to the physics at work and the results are shared between intention and consequence. In general, I just really need to maintain several bodies of work happening at once. I don’t want there to be any down time or for any one body of work to monopolize my time in the studio. It’s a way to keep ideas in constant circulation.

Can you describe your working routine?

My routine revolves around creating as much as I can whenever I can. When I’m not at my full-time job or doing family things you can find me either working in the studio or out enjoying my surroundings. The studio is next to my house so that provides a very efficient way to maximize my time. Most of my weekends are spent in and around the studio. I have some time during the work week but it’s less concentrated and I use that time for things like work documentation, studio organization and just looking at the work. My most productive time is definitely from Friday evening until Sunday evening. I love working at night, into the next day.

Can you describe your studio and how, if at all, that affects your work space?

My current studio is a repurposed storage/workshop building on my house property. It was remodeled several years back and it's a rather small but functional space at 10 x 20 feet. When it was remodeled, I pushed the ceiling up and brought natural light into the space with windows and skylights. It really wouldn't have felt like a proper studio without it. It's quite a wonderful space to work in but I am starting to feel some growing pains with it. There’s one main wall that I use for painting and looking at work. The opposite wall contains two large flat file drawers that are stacked and the top surface functions as a workspace. I also keep all my books on that wall. In one half of the floor space, I have a long table that doubles as a workspace and a printmaking area. The rest of the walls function as places to put up images for reference and reflection. It's mostly a mix of recent work, older work and other visual interests that I’ve collected. The studio mostly affects my work because of the close proximity between it and my home. It's always there when I need it to be.

in progress

Tell me about your process, where things begin, how they evolve etc.

On an existential level, it really begins with the impulse to create… the wanting of ideas to be actualized; to see that energy manifest into physical form. My process takes place when the observation of our surroundings begins to trigger a response and I comply. The brain decides how to filter all these various inputs and it makes aesthetic decisions based on what’s visually important to me. This is what really drives my pursuit, creating something which did not exist before but yet informs me about my world in some new way. The visual information of everything we process becomes an instigator of investigation and experimentation. That’s not to say that all things have an equal value or importance but that my decisions are made through the interests of what I want to react to. It’s simply a process of discovery and trying to describe anything beyond would never suffice. Ideally, everything has an opportunity to play a part in my process; if I can see it, experience it, then there’s a chance it may surface in the work. In terms of what I do physically, it’s all about making marks that echo my thought processes. It’s a constant reiterative dance between the idealized and the actual. Some ideas have natural endpoints, where others could stay in a state of perpetual revision.

What are you having the most trouble resolving?

I'm probably having the most trouble resolving the tangents that occur while working. Sometimes there are just so many possibilities of exploration that arise. Searching out every direction or idea is not a realistic or even feasible notion and that’s usually where I start to generate some anxieties. Choosing which directions to go investigate always feels like I’m sacrificing some unrealized discovery or something. I mean, I know that's part of the journey and experience of creation but still, I’d like to think I’m finding everything I seek. So, in actuality, there really isn't anything to resolve; it’s inherent in the creative exploration. It just comes down finding a balance between what's being realized and what I want those next steps to be and I know that the answers are found after the fact, in hindsight. I’m constantly driven by the act of putting all these pieces together that result in an experience and of course, the resultant object but that’s just evidence of creation, a visual container. I just don't want to leave any paths unexplored and that's a really nice problem to have as an artist.

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

I haven’t ventured too far away from the typical materials that are used for drawing and painting but I wouldn’t confine myself to only using those materials. I’m not actively seeking out different materials just to add bulk to the work. If ‘alternative’ materials find their way into my process then it will be because of what material does on some functional and/or aesthetic value.

What does the future hold for this work?

It’s quite open-ended and full of all kinds of possibilities. I know I’ll be happy just continuing on with what comes from my process of inquiry and realization. Ultimately, the artwork serves as a consequence of my thinking; physical objects of creation that leaves evidence of experience. In this respect the future of the work is to show me my past.

Is there anything else you would like to add?

Thank you so much for the opportunity to share my work and thoughts. I’ve really enjoyed your blog over the past year and appreciate being able to be part it. It’s always interesting to see and read about what other artists are doing.

Sikuli, 2011, spray paint, sharpie

& china marker on opalux, 24 x 19"

TERRY GREENE

Untitled (P1100579), 2011, Acrylic, tape

& staples on canvas, 11 3/4" x 9 1/2"

What are you working on in your studio right now?

At the moment I’m working on several ongoing series of works. Some on canvas, these are small acrylic paintings. A series of works on gaffa-tape over stretchers, incorporating coloured tape and paint. I also have a series of works on found boards and which I think of as sketches or drawings, again employing acrylic paint. Each of these three series is distinct and autonomous but inevitably informs the others.

Can you describe your working routine?

I'm lucky enough to get into the studio every day to at least look at the paintings I’ve been working on. But first it's emailing or blogging, then breakfast and walking my dog. My workspace is the attic room and I get in for around 10'ish. I always have a number of pieces of canvas, paper and boards on the floor, in various states of beginning, collecting happy accidents, incidental marks and the occasional footprint. Other works are leaning around the edges of the space and one or two are on the walls - these tend to be the ones I’m thinking about and feeling are near some state of becoming or just bloody awful. I don't have a particular routine in the studio one of the ongoing pieces on the floor suggests a move and it all just begins. In productive periods I can spend most of the day in the space until about 4'ish.when I have to go to work (I have a part-time admin job). I'm back home for around 8.30 and either return upstairs to continue working or alternatively I like to make mix-media sketches on small bits of paper from cheap drawing pads.

Can you describe your studio space and how, if at all, that affects your work?

At the present time the attic space is my studio. It's rather cluttered with lots of old computer monitors, camping equipment and suitcases for some reason. The space is a little chaotic but to be honest it works for me. Perhaps because of the cramped quarters I work on a small scale, but that feels perfectly natural and it enables me to work on lots of paintings at any one time. Also because wall-space is limited I work pretty much exclusively on the floor.

Tell me about your process, where things begin, how they evolve etc.

I have stacks of (shop purchased) ready stretched canvases and in perhaps a critical act against my own intimidation (or reverence) for the “canvas” and its surface, I cut the primed cotton away from the stretcher. This has the added advantage of enabling me to work on both sides of the canvas until the moment one side wins out. I work across any number of bits of canvas littering the floor, adding and obscuring stains of colour and variously generated marks. My thinking at that point is, in part, that I’m engaged with drawing attention to the fact of the paint (or tape) on the loose plane of the canvas. Often tape is employed as little objects on the canvas while at the same time they are colour and light illuminating the ground. I’m particularly interested in exploring that moment between when the background and foreground don’t really meld or talk to one another and that split second that a real dialogue begins – however unrefined. Finally the canvas is re-attached to a stretcher in a rather provisional manner.

Untitled (P1110501), 2012,

Acrylic on canvas, 17 1/2" x 12 1/2"

What are you having the most trouble resolving?

I'm not sure I am really trying to resolve anything - just being open to the moment when some form of dialogue begins within each work. But then I guess there's always a small matter of resolving the decision of taking up a medium, and attempting to maintain a level of distance and ambivalence towards it’s grand narratives.

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

I think like most artists I like to push at any parameters from time to time, to explore some new territory and surprise myself. However at the moment a list of materials would include all the usual suspects: acrylic paint, canvas/fabric, stretchers, found boards, paper, pencils, marker pens, insulation tape, Gaffa tape, staples, wall paper paste and general studio mess/dust. These materials are combined or approached in a number of expanding ways - but all pretty much firmly rooted well within what would be thought of a painting practice.

What does the future hold for this work?

Well, I guess if I am honest I’m not really sure. I have some exhibitions in the pipeline. However, recently I’ve discovered I enjoy living with my work, not necessarily looking at it on a day to day basis, but rather that strange sort of "re-discovering" that takes place with a painting or drawing - when viewed weeks, months and years later. There begins a new and interesting dialogue which arises from the inevitable collision between the present and the past.

Is there anything else you would like to add?

I would like to thank you Valarie for this opportunity. Also recently I’ve begun to notice a very creative community of artists, up here online, with whom it's possible to develop a real and expansive dialogue and one which personally I’m finding invaluable. And so thank you all.

Untitled (P1110492), 2011,

Acrylic and tape on canvas, 10 1/2" x 8 1/2"

RENÉ KORTEN

Fall From Grace, 2011
120 x 154 cm, acrylic on MDF

What are you working on in your studio right now?

I’m working on new paintings for two upcoming solo exhibitions starting in June. They run almost simultanuously, both in the city of Tilburg. One show is in the beautiful Museum De Pont, the other one in Luycks Gallery. Combined with the exhibitions a book about my work will be presented, entitled ‘Diver’s Eye’. Creating that monograph also takes up a lot of my time at the moment, in fact even most of my time.

Can you describe your working routine?

I don’t have a fixed working routine. Different periods ask for a different focus and that’s allright. I can be very focused on painting and drawing for periods of time and at other times I’m working on other things like teaching art, doing work for two advisory committees I am a member of, but also other stuff like preparing panels to paint on, making frames, updating website and so on. So now making a book in collaboration with the publisher distracts me a bit from painting. It’s important to me that all of these activities are connected to art.

Can you describe your studio space and how, if at all, that affects your work?

My studio space is the first floor of a former small engine factory. It is divided into three parts because three artists used to work here. Now I’m on my own. There are windows on both sides: on one side I look on the roof of an old big industrial space, on the other side is a lot of greenery and some big trees, very near. A museum director once visited me in the studio to prepare an opening speech for an upcoming exhibition. In the speech he mentioned the contrast of the two views in my studio, and he suggested that this must have inspired me in the work dealing with the polarity culture/nature. I didn’t think that he was right about that at the time, but now I think there was more truth in it than I realized then. Although I have never been an artist who depicts directly what he sees.

Dub, 1,2 & 3, 2011,120 x 154 cm,

acrylic, graphite, charcoal on MDF

Tell me about your process, where things begin, how they evolve etc.

I make my paintings on wood panels. They used to be plywood or masonite, now I prefer MDF boards. The hardness of the surface suits me well. By using tape I can create hard edges,and this is combined with applying highly diluted acrylic paint. Therefore the painting panel is always placed horizontally on the floor or on a table whenever I do the actual painting. Each painting has its own process of creation. Sometimes I make a painting or a series of paintings, based on a concept, for instance in a recent three-part series, where the first layer of each of the works is a big letter in pencil lines, and the combined letters make up the word DUB. In other paintings there is a more gestural approach. But always my aim is to somehow connect the more rational or intellectual part of creating an artwork to the pure joy of working with paint, to an intuitive and only partly controllable way of working.

I don’t prepare my paintings by making sketches. But I do sketch on the paintings themselves by adding and shifting bits of paper in different colors and shapes. I do this to find out what the next step has to be, working towards a composition that is complex and rich because of its contradictions, but that is also convincing and clear. This means that sometimes it takes a lot of time to develop and finish my paintings.

Next to painting I make works on paper, lately in pretty small sizes. Their creation goes much faster. I call these SWOPs (Small Works On Paper). This is an ongoing series and I work on them in periods, as mentioned earlier. In these works I often involve prints based on photographs. I always carry my camera and I take a lot pictures wherever I am. Photos of things that catch my eye and surprise me, of interesting compositions and combinations of elements that look promising. But these photos are just material; I rework them on the computer to create images less recognizable and with a drawing-like suggestive quality. Then I print them and use them as a starting point to create new works by adding one or more elements or layers of paint.

In progress

What are you having the most trouble resolving?

The thing that gives me most trouble resolving is in fact the essence of the work: how to transform a number of visual ingredients into a meaningful image. And there is not a recipe for that. In the beginning it’s just trial and error, I’m moving things around and most of the time nothing happens, but I’m always looking for the moment that the lines, forms and stains come alive and in their combination start talking to me: ‘let me be’. It’s a matter of chemistry. This is what I strive for, it has to happen, but I cannot predict when it does and how long it takes.

Do you experiment with different materials a lot or do you prefer to work within certain

parameters?

Experimentation with different materials is not an aim in itself. I have always found that limitations are stimulating to me. I love to work with techniques and means as simple as possible. That’s why I use acrylic paint. It enables me to act very quickly once I know what to do, and there are hardly any technical problems to solve. Not a focus on technique, but on trying to take the right actions, making the right choices and by that creating evocative images.

What does the future hold for this work?

I have no idea. But I do hope to keep developing the expressiveness of my work. Hopefully the recognition of it will continue to grow, enabling me to keep creating work and exhibiting it in many interesting places.

Senkrecht,  1996-2012
122 x 93,5 cm, acrylic on masonite

Is there anything else you would like to add?

The last few years the atmosphere in the Netherlands changed dramatically, also in regard to the arts. Although the political situation is shifting again very recently in a somewhat hopeful direction, the importance of the arts has decreased considerably in the public opinion and artist have been pushed to the margins of society. That’s why I want to express the hope that we as artists from everywhere stick together; we have to support each other and keep focusing on the power of art to inspire people in living together in a compassionate, openminded and loving way.

Thanks Valerie for the opportunity to tell about my working practise and express this wish.

HENRY SAMELSON

Puck, acrylic on canvas, 12 x 9", 2012

What are you working on in your studio right now?

I'm working on about 50 small paintings simultaneously right now. I'm starting or revisiting--depending on how you look at it--some very small paintings on canvas. I wanted to start some new work after reaching a stopping point with a recent series, but looking around the studio realized I have a glut of old work that I am not really close to anymore. So I'm recycling.

Can you describe your working routine?

I have a day job, and my wife and I have a 22 month old boy, so there's a lot of time-management and scheduling involved in my routine which basically involves working around job and family 2-3 nights during the week in the studio, and one day over the weekend. I do a lot of sketching with ink, crayon, pencil every day whenever there's a gap in my schedule. So, along these lines, before going to my job I've gotten into the routine/ritual of sketching in the park beforehand. I sketch later on my lunch. And at night after work if I can't make it to the studio, I work on some watercolor and pencil drawings on the couch, or drawings on my iPad or phone.

Studio view

Pencil sketch of the Taco Bell parking lot across from my studio

Can you describe your studio space and how, if at all, that affects your work?

I have a studio in the Greenpoint section of Brooklyn which has a nice view of midtown Manhattan in the distance and a Taco Bell in the foreground. I share it with another artist who I have only seen once in all the months I've been there, so it's almost like having my own space which is important for me as I don't work well with someone else in the room. The space itself has a certain bearing on my work that I haven't figured out yet. I've worked in a tiny spare bedroom in a former apartment on some very large-scaled canvases. I think that working in that cramped space on such large paintings makes it hard to see the space inside the painting and maybe that's a good thing, to work somewhat blindly that way. Conversely, I have a lot of working space right now but am working on small-scaled works that I tend to stand very far back from to look at when I'm just looking. So in a way I'm just as blind about the space painting those.  I work best when I have a nice view outside, and maybe that’s a lonesomeness thing.

Acrylic on canvas paintings in progress, 2012, 10"x10"

Tell me about your process, where things begin, how they evolve etc.

                      

It’s hard to pinpoint where things begin and evolve with me. Drawing is important to my painting. But there is reciprocity between them with ideas/influence flowing back and forth. I work on a lot of paintings at the same time with dialogue between them as well. Everything plays off of everything else. Sometimes when I stumble in a good idea I have to go back and work over what I thought was a good idea in something I felt satisfied with a week or year ago. Like many other artists, I'd say drawings help me locate ideas, marks, color, for the paintings. When I turn to painting, however, it's hard to stay true 100% of the time to the template I thought a series of drawings had established. Departures happen as a result of accident, frustration, ineptitude, and the difficulty of translating the muscle movements involved in drawing into the act of painting. I think the circumstances I have just described are common among artists who move from drawing to painting. Drawing feels more acoustic and disciplined than painting. In painting, I get a lot of feedback that can't be controlled. I always reach a point of anger and disgust in a work which I think is an essential part of my process.

What are you having the most trouble resolving?

Everything.  But I don’t think of this as trouble really. I don't think of any of my work as being resolved. I mean I do, in moments, but there are so many ways to finish something, resolved doesn’t seems like the clearest way to describe how I look at a work I've stopped working on. Maybe there's some word in a dead language that means essentially "the work has just stopped, sort of".

Untitled (a work that just stopped, sort of), 2012,

enamel on wood panel, 72”x48”

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

I basically paint and draw using mostly the usual media and supports associated with those forms. I do a good bit of spray painting and digital drawing, if that counts as different. I've made paintings on aluminum that I hired an auto body shop to finish. But I still think I've remained true to a fairly narrow band of working, even though many of my art heroes do some pretty wacky stuff with varied materials. I just haven't gone there yet.

What does the future hold for this work?

Things that are related to question number 6. I’d like to explore different materials, different approaches to support/presentation, avoid squares.

Is there anything else you would like to add?

I really appreciate this invitation to discuss my work and process Valerie.  Thank you. I am sure I would answer these questions differently in time, maybe even by the time I get home from work tonight. In fact, I am sure after I send you these answers I am going to wish I had answered everything another way.

Washington Square Park drawing, 2011,

crayon and ink on paper, 8”x5”