Artist’s Statement (2012)
    Drawings – Summer 2012

For the last ten years, I have been making line drawings from observation of various plants. First, I drew only zinnias. The variety of similar forms held my attention for years. Then, as I began to draw other plants, my collection came to reflect the gradual and constant change in the landscape.


From line drawings, I have isolated seemingly endless silhouettes that I cut out of printed papers. I have used these papercuts in compilations connected by embroidery, as stencils for monotypes or paintings, or independently in site-specific installations.

    My drawing process is about extracting precise plant shapes. I also make painted color studies to extract precise groups of colors from the landscape. Then, with these specific ingredients, I can work fluidly.
    Because I considered the process of drawing primarily as one of gathering, I did not at the time anticipate framing and exhibition. For that reason, the drawings often cross from one sheet of paper to another (small sheets so that I can sit as close to my intricate subjects as possible). Sometimes I drew on both sides of the paper or also recorded written notes. I usually opted not to draw across edges of the paper because I knew that I would later use the silhouette of each form.
    When possible, I like to sit outside and draw a plant as it grows. It is not always comfortable – even on fresh spring days. Bugs and blossoms tend to leave spots on the paper, and wind leads to wrinkles. But, being there in the grass, quiet and focused and for a good while, is an important part of the work. I take the breeze and birdsongs and the wide blanket of flowers back to the studio too.