A series of land drawings, environmental projects, and sculptures: most of the works seen on this page were sited on a hillside in rural Maryland beginning in 2016. This is an ongoing project sharing authorship with the environment including forgotten objects from previous owners. The projects are mostly made for walked views, but some investigate airplane, drone & satellite views.
Solitary, 2017, Dimension of tulip poplar saplings 8x10’ (dimensions of many solitary confinement prison cells in the U.S.)
detail: Solitary with branch pruner at center of overall 8 x 10’.
Refugee Tent: Family of 5, 2017 (self-seeded Tulip Poplar seedlings left to grow in dimensions of a UNHCR refugee tent with five cut clumps of Tulip Poplar seedlings stacked together. Located in rural Maryland on privately owned land. Context is half the meaning.
Black Box, 2017, wood, ladder, graphite, post, (text on outer box: US, OUR, SECRETS, THE. Text on inner box: FEAR, DEEP, LINE, IN, TIME)
Deep Line: Time Walk, 2016, view from beginning of walk through time with orange flags marking distance corresponding to major events in the formation of the planet, and eventual arrival of humans at end of time walk - on hillside.
End of deep time walk: humans at end of long line of time since beginning of planet formation.
This is a walked line inspired by talks with New Zeeland artist/friend Trudy Lane. People were invited to walk a path in the middle of the tall grasses & Tulip Poplar saplings… a map of deep time for planet earth. The arrival of humans in deep time are at this end of the path. A spool of string lies on the ground in reference to time that has not yet passed. Humans have appeared and have lived very recently in the deep time. Walking is what humans naturally do as nomads – it grounds us on land and in rhythm through time. We forget how deeply we need relationships with things outside of human society.
flags, strings & painted saplings, 2016, Land drawing with flags & nylon string. blue and yellow colored flags appear and disappear in changing light.
This was an experiment toward seeking to make a drawing that uses the grass as the page, and string/flags as points and lines. How might the lines levitate above the grass?
Humans have long mapped & marked the land. This is a temporary land-map. Depending upon the light, the blue flags almost disappeared. A person can see them only when focusing long enough on the color. There was a shifting camouflage in this work.
Launch, 2016, Tulip Poplar Saplings, string, flags: land drawing on sloped hillside.
Orange Circle, 2016: painted Tulip Poplar saplings, dim variable: land drawing on sloped hillside. Branches move in wind: viewers walk into circle of orange swaying sticks. Tulip Poplar saplings are flexible & reveal slight shifts of wind. While not intended, the land drawing became a pseudo wind-gage.
Territory: A Topographic Map (with residue from ‘Black Box and Adjacent Body’), 2017, grass, paper, painted sticks, flags, post, snake skin, string, bark, leaves, wood, thread, dimensions & materials variable
Detail:Territory: A Topographic Map, 2017 from exhibition Tremor in Shadow, Project 1628, Baltimore, MD
left: Considering deep time, 2016, Ginko chloroform sap, graphite, paper, Hopi Tapaut maze, map of time walk in Baltimore County, 24 x 19” right: Surveying Tulip Poplar Leaves, 2016, leaf chloroform, graphite, paper, 24 x 19 below: Vodka/1972 & Gun, 2016. Installation from exhibition Tremor in Shadow, Project 1628
Disassembled Gun, 2016, packaged and set in China Hutch, Chestertown, MD for What Lies Beneath
Detail: Disassembled Gun, 2016, packaged and set in China Hutch, Chestertown, MD for What Lies Beneath
Maps / Drawing
Works shown on this portion of the site focus on the quality and use of mapping as a strategy for exploring how space is considered. Two and three-dimensional drawings present didactic information in descriptive, political, and poetic ways.
Some of the sculptures/drawings are produced through cutting or repeatedly puncturing the surface of the paper with a pin or shaped punch. The resulting images and forms diagrammatically describe projected/topographic space. Depending upon the direction of the light and the placement of the paper, the visual maps appear as two and three dimensional dots, low reliefs, or points of light. The drawings, investigate images of the globe and galaxy as well as movements around the globe such as wind, water currents, or bird migration patterns. They explore strategies for mapping three-dimensional space and reveal biases and limitations of how space is often considered. Maps are often used as a tool to perpetuate the assumptions of the author (cartographer); they are always situated as historic documents from a particular time.
In taking and re-engaging the maps of others, I have sought to appropriate documents and forms to re-situate possible meanings. I have stopped making maps as seen on this page. Most are formal exercises in light, form and beauty. For now, there is an ongoing reconsideration of the way in which mapping is used through action, notation and drawing.
table: Projections III, 2007, table, tracing paper, blackboard paint, 36 x 72 x 35"
Projections III, 2008, table, tracking paper, blackboard paint, 36 x 71”. Tracing paper moved by viewers so the organization of shapes are continually altered and rearranged
Double Globe: Longitude, Globe, Equatorial Flat Map: Bonne, 2005Installation view of three works in Rosenberg Gallery, Goucher College, Baltimore.
Globe, 2005, paper, pins, light, 54 x 50 x 9"
Double Globe: Longitude, 2005, paper, pins, 32 x 30 x 15"
Equatorial Flat Map: Bonne, 2004, paper pins, light, 34 x 50 x 12"
Wind Currents II, 2007, paper, 19 x 29"
Flat Map I, 2007, paper, light, 24 x 19"
Flat Map IV, 2009, paper, light, 19 x 24"
Flat Map V, 2009, paper, light, 24 x 19"
Flat Map VI, 2009 paper, light, 24 x 19"
Flat Map II, 2007, paper, light, 24 x 19"
Ptolomy's Map, 2005, paper, pins, light, 36 x 50"
Wind Currents: Mean Directions & Stream Lines, 2005
Detail: Wind Currents: Mean Directions & Stream Lines, 2005
Current Events: Tsunami, Oil Reserves & Shipping Lines, 2005, graphite & felt on wall, Rosenberg Gallery, Baltimore, MD
Detail: Current Events: Tsunami, Oil Reserves & Shipping Lines, 2005, graphite & felt on wall, Rosenberg Gallery, Baltimore, MD
Northern/Southern Sky, 2004, paper, pins, light, 70 x 90"
Detail: Northern/Southern Sky, 2004, paper, pins, light, 70 x 90"
Detail with light from back: Water Currents, 2004, paper, 34 x 64"
Detail with light from front: Water Currents, 2004, paper, 34 x 64"
Reversed Globe: B. Fuller, 2004, paper, pins, 34.5 x 70"
Detail: Reversed Globe: B. Fuller, 2004, paper, pins, 34.5 x 70"
Milky Way, 2004, paper pins, light, 34 x 64"
Detail: Milky Way, 2004, paper pins, light, 34 x 64"
Three Flat Maps Curled, 2004, paper, 17 x 60"
Three Flat Maps Curled, 2004, paper, 17 x 60"
Recordings investigate the question of how to draw the wind and other fugitive movements on land through works on paper. For some of the works, wind is recorded directly by mapping the movement of varied grasses blowing in the wind: seed heads are dipped into ink and graphite powder, a page is held to record the shifting movements on different days so that the grass in the wind draws lines on the page. Recordings include evidence of raindrops from different storms, pollen on a pond, algae on a lake, rotting bark, the movement of ants, fallen leaves, sticks and seeds.
Through these works, there is an ongoing attempt to collaborate with naturally occurring events and also to notate random, overlooked occurrences in a day; marking the 'events' or 'movements' on a page.
The recordings reveal momentary, passing movements affected by the geography. They are the result of a particular time and place always subject to change.
Recording location for snowflake drawings
Recording Series (from l to r): Wind blowing Ginkgo leaves, tulip poplar leaves, white pine needles, 2010, & Grass Motion: 2008, all ink on paper, 24 x 18”
Melting snow & ice drips w/ tree above paper, 2011, 24 x 18”
Detail: Wind blowing ginkgo leaves, ink on paper, 24 x 18”
Grass Motion in Wind 10/10/2008, grass seed dipped in ink & held to paper, 19 x 24”
Recording location 6/2010 for pollen on pond, Gunpowder Falls
Pollen (top) decomposed tree trunk (middle) and Algae from Lake 06-08/2010, 17 x 14” each
Recording location 10/2010 for leaves/ants/debris falling
Ant trails and fallen leaves/seeds 10/2010, graphite and ink on paper 52 x 72”
Detail of initial records: Ant trails & fallen leaves/seeds 10/2010
Recording location 6/2009 for rain drops
Rain 6/09/2009, ink on paper, recording rain drop size, 24 x 18”
Rain 5/24/2009, ink on paper, recording rain drop size, 24 x 18”
Rain 5/23/2009, ink on paper, recording rain drop size, 24 x 18”
Grass Motion 9/22/2008, graphite pencil following shadow of seed head on paper, 24 x 19”
Switchgrass Recording, 2009, 18 x 24"”
White Pine recording, 2010, 24 x 18”
Ink and graphite drawings show studied responses to the land along with cartographic views of the globe spinning or a drawing of craters on the moon. Drawings of flight patterns from cranes, bats and starlings attempt to arrest and reveal fugitive visual lines in space.
Point, Line & Stone III and IV, 2018, Graphite on Bristol, thread and stones, 17 x 14” (drawings)
Point, Line & Stone II, 2018, Graphite on Bristol, thread & stones, 17x 14” (drawings)
Point, Line & Stone I and II, 2018, Graphite on Bristol, thread & stones, 17x 14” (drawings)
Stem, Stone & Molotov Coctail, 2018, Graphite on Bristol, 17 x 11”
made while considering Finnegans Wake & Gaza border tensions.
(DE/IN/RE)CLINE, RESIDUE OF TOUCH, 2018, set of 14 graphite works on paper, 17 x 11”
Detail: (DE/IN/RE)CLINE, RESIDUE OF TOUCH, 2018, set of 14 graphite works on paper, 17 x 11”
WhiteRageFearBeneath, 2017, Graphite on paper, 52 x 72”
Widow Maker: White Woman, 2017, ink, pencil color on paper, 11 x 17”
Clench, 2017, lemon juice, graphite on paper, 11 x 17” each
Apple wood, flag & fence shadows, 2016, graphite on paper, 71 x 52”. near window: Cut saplings, Birch twigs & Big Bluestem shafts, Grass, graphite on paper, 69 x 52” (drawing) for exhibit Tremor in Shadow
Tremor in Shadow, 2016,graphite on paper, 75 x 52”
Four Seconds to Target, 2016, graphite on paper, 70 x 52"
Score & fold with shadows, 2016, graphite on paper cut and collaged
3 Recordings with measured lines, (in progress) 2014, dimensions variable.
Recording with Measured Lines I, 12/07/2013 - 2/25/2014, ink, graphite and lemon juice on paper, 52 x 60”
Recording with Measured Lines 2, 10/15/2011 - 2/05/2014, ink & graphite on paper, 52 x 54”
Detail: Recordings with Measured Lines 1 & 2, 2014
Following Light, Marking Time & Shadow, 2013, string, graphite, packing tape, nails graphite on paper, 2013 (Kaus Australis installation of two site specific drawings)
Detail: Following Light, Marking Time & Shadow, 2013
Following Light, Marking Time & Shadow II, 2013, graphite on wall & paper, Kaus Australis Residency
detail: Following Light, Marking Time & Shadow II, 2013, graphite on wall & paper, Kaus Australis Residency
Static/Blur, 2014, graphite on paper, 19 x 24” each/21 pages. Grid of 1/16” squares on each page. Total number of squares = prisoner population in the U.S. Darkened areas made through graphite pressure. Pages shown with a list of all federal prisons in the U.S.
detail: Static/Blur, 2014, gridded page next to list of federal prisons in U.S. states
SPIN: 5 degrees/20 minutes for 10 hours, 2011, graphite on paper, 52 x 72"
Detail of SPIN: 5 degrees/20 minutes for 10 hours
Untitled (earth & cirrus), 2008, graphite and paper, 17 x 14"
Detail: SPIN: US Capitol Building (floor plan) 11/2010, graphite on paper, 58 x 52"
SPIN: US Capitol Building (floor plan) 11/2010, graphite on paper, 58 x 52"
Installation View, Montpelier, MD
Montpelier Mansion 180 degrees, 2010, graphite on paper, 52 x 40" Montpelier Topography 4x, 2010, paper, 52 x 34" (right)
Moon Craters with Northern/Southern Sky, 2008, Ink on hand cut paper, 25 x 27"
Life Support: P. M. Wyer, 2009, graphite and paper, 14 x 17", 2009 (synesthetic drawing)
Cloud 3x, 2009, Graphite on paper, light box, 2 @ 19 x 24"
Migration Series: Sandhill Cranes at Bitter Lake, NM, 2009, graphite on paper, 52 x 72"
Migration Series: Bats, 2009, graphite on paper, 52 x 72"
Migration Series: Starlings, 2009, graphite on paper, 52 x 72"
Dust Devil, 2009, graphite on paper, 22 x 30"
Tornado, 2009, graphite on paper, 12 ½ x 8 ½"
Bitter Lake Grass Fire, 2009, graphite on paper, 22 x 30"
New Mexico Grass/June, 2009, Ink on paper, 19 x 24"
Mapped Global Maps, 2008, Graphite on paper, 52 x 70"
Untitled, 2009, graphite on paper, 19 x 24” (the drawing began from a random graph of solar electric current in NM)
Moon Map, 2005, Graphite on paper, 43" diameter
Works seen engage various exterior and interior spaces with consideration of light, as well as movements occurring in and around particular places, with the goal to ask how to draw beyond a page, into space. Like Lucy Gunning climbing around her room, these works seek to experience and understand lines of movement found in space. Videos seen in the Video portion of this site also investigate found movements of lines on land.
Drawing is a vehicle of action that brings to view the things not initially known and seen. Drawing is a strategy to explore experience informed by language, but also seeks to make visible many realities apart from language. It is a direct manifestation of how skills of hand and mind work as as seamless extension. A drawing response is one of many possible answers.
Leaf Scored & How to make a drawing on a leaf with light and shadow, 2011
How to make a drawing on a leaf with light and shadow, 2010
How to make a drawing on a leaf with light & shadow, 2010
Leaf Drawing, 2017, dimensions variable
Seed drawing with Tulip Poplar seeds, 2011
Response 1, 02/26/2011
Response 4, 02/29/2011
Response 2, 02/26/2011
Response 3, 02/26/2011 (with nod to R. Long)
Response 2, 0/24/2013, snow drawing with Virginia Creeper, following shadows
Response 3, 1/24/2013, snowing drawing outlining edge of shadows when sun is not behind clouds.
Response 4, 1/24/2013, snow drawing with leaves
Isle Royale Drawing 4, 8/4/2012, orange stone line drawing on Basalt & water
Isle Royal Drawing 3, 8/4/2012, water line drawing made with fingers on Basalt
Detail: Isle Royal Drawing 2, 8/4/2012, white stone line drawing on Basalt
Isle Royal Drawing 2, 8/4/2012, white stone line drawing on Basalt
Shadow Recording, Drawing the Found Line, Artisphere, Arlington, VA
Found shadows drawn on pages and rearranged on wall, from Drawing the Found Line, Artisphere, Arlington, VA
Found shadow drawings rearranged on wall, from Drawing the Found Line, Artisphere, Arlington, VA
Graphite and cut drawings made from sound recordings taken in the works in progress space, from Drawing the Found Line, Artisphere, Arlington, VA. 2011, (Note: lower works in image and sound recordings made by collaborator Jassie Rios.)
Lines of Movement (tracking time, day & direction of people walking through the ‘works in progress’ space, from Drawing the Found Line w/ Jassie Rios, Artisphere, Arlington, VA
Detail: Lines of Movement tracking time, day and direction of people walking through ‘works in progress’ space, Drawing the Found Line
The tools are paper, knife, ruler, and pencil. What variations arise within simple actions on paper? The limited set of repeated movements reveal slight alteration of choice. How can the action of drawing also extend to space through light and shadow?
These drawings are the material residue of process-oriented thought and activity. When making them, there is a rhythm through action. The sound of the knife or pencil against the metal ruler makes a clicking and wooshing noise that combines with other sounds heard in a day. Most are forgotten, some recorded. (sound recordings).
In these folded and drawn pages, rhythm and vibration is the residue of repeated lines. The energy of the hand alters the final drawing: that energy is focused/distracted, strong/weak. Misplaced lines are as equally valid as accurately placed lines. Portions of the paper fall off and are lost. Failure of material or lack of accuracy is embraced, allowing difference.
Expectations for a crafted art form assuming specialized skill, is deliberately investigated. There are attempts at precision with an acceptance of failure. Actions are purposfullly easy to enact as repetitive labor. Through these actions of scoring, folding, and drawing, there has been opportunity to reflect upon the motivations and assumptions of visual art practice as a particular form of labor with expectation for material products driven by market forces. Making material products, such as the works seen on this page, is only one possibility for the question of drawing through action. What does an immaterial drawing look like and how can this be enacted?
2013 (e)Merge Fair, with Free[Space]Collective and Jassie Rios. Additional images and text TK.
Drawing the Found Line, installation view, Artisphere, Arlington, VA, 2012
Drawing the Found Line, installation view, 2012
Drawing the Found Line, installation view, 2012
Consolidated Landscapes, drawn map of floor squeaks & sound drawing, Delicious Spectacle with Jassie Rios, 2012
-Drawing workshop, “Draw the Floor, Draw the Page” Robert Reed Drawing Convention, Penn State, 02/22/’19
UNHCR Refugee Tent, 2015. Enacted drawing from drawing workshop at Berea College. Enactment-drawings are neither performances nor dances, but movement drawings for a brief time.
Border & Frame, 2015, Drawing workshop with students included discussion of assumed notions around ‘frame’ & ‘border’. How might expanded meanings around these words directly affect new methods of drawing in space with objects & body? Empathy for refugees was discussed. Floor movements were developed from these reconsidered word-prompts. In images seen here, participants collaborate & investigate through beginning traditionally on their page of notations, toward the process of drawing with body & objects for a later presentation: choreographic drawing toward drawing out the body through space.
Exploring drawing together is tremendously exciting. Shared authorship of drawings in dialogue expands ways each person might best use drawing in their life. Theprocess of directly drawing ones self out is inherent to any final drawn result. Drawing is a strategy that investigates and problematizes thought in directly visual forms. These workshops advocate for overlooked tools that are readily available as drawing materials to expand spaces and ways to draw.
Verb & Sound Drawings, 2014, Participants collaborated and enacted each others drawings. Drawing tools included audio recorders with a discussion around directional lines of sound sent out into space through voice and objects. Audio record of sounds also considered as another form of drawing one’s self out. Workshops were programmed during 3 Strategies for Surprise, Creative Alliance.
Draw/Slide, 2013, a re-enacted drawing prompt that emerged from a drawing workshop, 2013, from 3 Strategies of Surprise at The Creative Alliance, Baltimore, MD
Detail: Draw the Page / Draw the Floor, 2013. Workshop for 3 Strategies for Surprise, Creative Alliance
workshop participant in Draw the Page / Draw the Floor, 2013
Collaborating to form a drawing on the floor with found & assembled materials from 3 Strategies for Surprise, Creative Alliance, 2013
Physical consideration of drawing may extend the body.
A collective levitating drawing with rubber bands, boards & tension.
Reframing Drawing / Collaborators discuss the screen as a drawing tool.
Contextual prompts formed this enacted and site specific drawing.
Altered context to include other forms, drawing with a sheet, wood. The camera forms the initial framing device & sets the page.
Collaborate results from a workshop using alternative drawing tools and the floor as the page.
Enacted drawing investigations: Redrawing the Land (S.B & J.P), 2016
Connection / Two Boxes & Poplars, 2018 installation of posts, wood, graphite, black paint, rope, needle, tulip poplar saplings, acorns, grass, thread, ginko leaves, flags. Installation variable.
Installation View, Neck of the Woods: Marrow, Elon University, 2018 with 2 floor drawings (foreground): 8 x 10’: Solitary, grey & red gaffers tape & UNHCR Refugee Tent: Family of 5, white gaffers tape
floor: UNHCR Refugee Tent: Family of 5, white gaffers tape, 2018. wall l to r: Recording 2, 2014,ink, graphite on paper, 52 x 53”, 2014 & (DE/IN/RE)CLINE, RESIDUE OF TOUCH, set of 14 graphite works on paper, 17 x 11”, 2018.
Installation view: Disassembled & Repackaged Gun in Hutch, from solo exhibit, What Lies Beneath at China Hutch, Chestertown, MD, 2017
Installation from What Lies Beneath, China Hutch, 2017
Installation view: Tremor in Shadow, Project 1628, Baltimore, MD, 2016
Installation view: Tremor in Shadow, Project 1628, Baltimore, MD, 2016
Installation: Tremor in Shadow, Project 1628, Baltimore, MD, 2016 wall l to r: Considering Deep Time, 2016, Ginko sap, Hopi Tapaut, map of time walk in Baltimore County, Ginko chloroform, graphite, paper, 24 x 19”. Surveying Tulip Poplar leaves, 2016,tulip tree chloroform, graphite, paper, 24 x 19”. Hearth & Home/Vodka & Gun Parts, 2016, strap & found bottle and gun from attic in rural Baltimore County.
Territory: A Topographic Map, 2016, dimensions & materials variable. from Tremor in Shadow, Project 1628, Baltimore, MD, 2016.
Natural materials for this work, included grass, snake skins, bark, saplings, paper, thread, paint, flags, poly rope. The elements were first gathered as part of an earlier, site-specific outdoor exhibition in Baltimore County, Black Box and Adjacent Body.
Middle Eastern Refugee Map, 2015, printed paper, 125 @ 19 x 25” and Floor Drawing: UN Refugee Tent, 2015, grass/thread, 13 x 13.5’ from Borders & Migration: Shifting Geographies, Rodgers Gallery, Berea College, 2015
Detail of pages with 1/6” grid. Each square represents one person, adding the total number of migrants across the globe in 2015. Some of the squares cut out to emphasize the individual scale of each. Borders & Migration: Shifting Geographies, Rodgers Gallery, Berea College, 2015
Interval, Bruck Pollock and Renee van der Stelt, GrizzlyGrizzly, Philadelphia, 2014
Installation view of Score/Fold, from Paper Shapers, Goucher College, 2012
Mapping, Hemphill Fine Art, Washington DC, 2011
Installation view, Hamiltonian Gallery: Recordings Series (from l to r) Wind blowing ginko leaves, 2010, ink on paper, 24 x 18" Wind blowing tulip poplar leaves: 10/07/2010, ink on paper, 24 x 18" Wind blowing white pine needles: 10/07/2010, ink on paper, 24 x 18" Grass Motion: 9/16/2008, 2008, ink on paper, 24 x 18"
The cliché verre drawings seen at right, and in the next two images were created through scanning and enlarging cropped sections of 4 x 5" ink drawings dried onto dusty glass plates. Portions of the digital scans were printed as large lamda prints. Other glass plates were used as negatives, printed with a photographic enlarger in the darkroom and developed as photographs. The resulting images resemble deep space photographs from NASA or satellite images, or of satellite images of planets.
Installation view: printed glass plate ink drawings, School 33, 2005
Installation view, Observation Deck, 2005, Baltimore Museum of Art
How can a drawing affect and shape space in a new way? The works on this site seek formal and conceptual ways to assimilate drawing into the sculpted form through space and time. Drawing is a visual mark of any kind in the most basic sense. In representing some thing, we represent ourselves including aspects of the world: we both seek to capture an existing thing, but create a new one in the process. Paper is a widespread support for drawing, and drawings are generally two- dimensional. While interested in these traditional notions and strategies for drawing as a practice, the work seen here shows drawings not only as a noun (thing) but also as a verb (action & process). In what ways can drawing extend off the page to include drawing toward diverse forms? Through more careful attention to enacted drawing with the body, there is a deeper awareness and acceptance of the changing codes or meanings that arise within a day through drawing. In this sense, there is a consideration of drawing as a form of visual philosophy and poetic: it is an utterance, a set of fragmentary marks formed into a cohesive object, action or moment. It is singular result from a day but it must include a frame, no matter how differently the frame is established.