LINE DRAWING COLLAGE WORKS
Line Drawing Collages
Normally, I work in large scale, detailed, unforgiving watercolor which requires research and painting several full size studies before the final piece is begun. In my watercolors, (Table Series) I often interpret other artists’ work. Generally, I am interested in formula, process, and composition interpreted through familiar objects, and images.
In my line drawings, I experience an instant gratification in capturing the raw simplicity of common objects. I’m interested in the thoughts and memories triggered by the objects. Once accessorized with a personal or anonymous photo, each drawing seems to tell a story that didn’t exist before.
In 1996, while vacationing in Sag Harbor, New York, I picked up a few interesting props for potential watercolor paintings. Without any art supplies at hand, but anxious to use my new props, I grabbed a black marker and began drawing on the only paper I could find, The Sag Harbor Press.
Happily, drawing on newspaper allowed me unlimited mistakes, without anxiety. No threatening expectations from a perfect, blank paper. For once, drawing was risk free!
I found many of the drawings pleasing, but the printed words and ads on the newspaper were too distracting. I began using house paint to cover the printed background around the drawings, allowing traces of the printed matter to show through. I liked the body of work, and sold them to an art dealer in New York City a few days later.
I began experimenting with non-traditional paper for other projects. I work with acrylic, watercolor, oil paint marker, pencil, ink, and chalk. My accessories are photos, paper clips, staples, tape, lace, thread, fabric, and found objects.
Normally, I work in large scale, detailed, unforgiving watercolor which requires research and painting several full size studies before the final piece is begun. In my watercolors, (Table Series) I often interpret other artists’ work. Generally, I am interested in formula, process, and composition interpreted through familiar objects, and images.
In my line drawings, I experience an instant gratification in capturing the raw simplicity of common objects. I’m interested in the thoughts and memories triggered by the objects. Once accessorized with a personal or anonymous photo, each drawing seems to tell a story that didn’t exist before.
In 1996, while vacationing in Sag Harbor, New York, I picked up a few interesting props for potential watercolor paintings. Without any art supplies at hand, but anxious to use my new props, I grabbed a black marker and began drawing on the only paper I could find, The Sag Harbor Press.
Happily, drawing on newspaper allowed me unlimited mistakes, without anxiety. No threatening expectations from a perfect, blank paper. For once, drawing was risk free!
I found many of the drawings pleasing, but the printed words and ads on the newspaper were too distracting. I began using house paint to cover the printed background around the drawings, allowing traces of the printed matter to show through. I liked the body of work, and sold them to an art dealer in New York City a few days later.
I began experimenting with non-traditional paper for other projects. I work with acrylic, watercolor, oil paint marker, pencil, ink, and chalk. My accessories are photos, paper clips, staples, tape, lace, thread, fabric, and found objects.
