![]() What sets the digital prints apart from their smaller drawings on velum is scale and orientation. “Scale” and “touch” play an important role in the digital prints to make them appear to have been done effortlessly and without the assistance of a computer. What I am interested in is how the digital line differs from the pencil on paper line. Then using a pad and electronic pencil I work to do additional drawing to knit the image together. Once digitized the drawings are then reassembled in the computer. A series of separate drawings on paper are scanned and resized. The digital prints start out as drawings on paper. It represents that intimate moment between the material, the viewer and ultimately myself. Whether drawing for a digital print or on a large sheet of paper, what is important to me is that the line remains fresh and expressive.ĭrawing is always a starting point for my work. ![]() How would you compare the artistic process in your pencil drawings versus your digital prints? The main message I wanted students to understand is that art making is problem solving, and there is no right or wrong answers just ones that are better and smarter then others. One is always shifting gears, so to speak, with every student as each presents you with different issues and ideas to be unraveled. As a faculty member it was my job to help them do just that so that their takeaway is a body of work that is well-argued and ground breaking. As a faculty member in a university you have many students seeking to discover their own vision. Teaching has not altered my work but rather helped to inform it. Teaching and art making is a dialogue be it with a student or a wider public. Do you think teaching has altered how you create art? What are the main messages you wanted your students to take away? You were a professor at the University of Missouri, how do you compare life creating art through others versus creating it through yourself. It is puzzling for the figures that inhabit my works while at the same time I seek to remind the viewer of their own museum encounter. My works is influenced by this complex accumulation of fragments and viewpoints found in a Museum. Soppelsa has noted that the my work “forces the viewer to interpret the images critically and to think about themselves and how they see and respond to specific objects and the ways those objects are displayed in museums.” I am interested in this complex reflexivity and the conundrums that it creates for the viewer. ![]() I am interested in how this endless stream of images and objects of vastly different cultures is embraced by the viewer. The drawings/paintings center on the disconnected narrative that results when one traverses the museum. My works has been profoundly shaped by visitor’s experiences. However, moving through museum galleries is itself a fragmented experience. I have always been interested in how Museums direct the viewer’s gaze. ![]() The art museum’s fractured discontinuity is a place where visitors have to navigate an artificially constructed world in which the narrative is interrupted from gallery to gallery. How has working in the museum world influenced your own work? Your pieces revolve around the nature of museums, which you have a long personal history of working in. ![]()
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