The ink I use is a transparent mixture of finely ground carbon matter suspended in water. Value, tint, shade, and tone are manipulated by varying the particle density in the liquid. Commercial mixtures, called “India Ink”, are available with ready to use concentrations in both black and colored variants.
I start drawing by brushing or floating washes over paper. Most of this activity drifts directly toward some unknown because of the physical properties of liquids. Ink finds its own level as it flows over and around fibers on the surface. These react like trees in a landscape responding to natural forces. Then, while some of the drawing is still moist, Water is flooded over the entire page to remove any remaining ink. Dry elements are left bonded in place. Latent marks, line, and context take shape.
I use drawing to express a universal reference for dispersal and connectivity. Sometimes this is looked at as a push and pull, give and take, or seemingly in every action there is a reaction. Depictions of forest forms highlight my imagery. Trees naturally move outward on a landscape after external stimuli such as light, gravity, or even trauma initiate a growth response. History is charted. It links back to a time preceding man. Forests offer both definition and modeling in the development of human institutions. Understanding the growth in trunks, branches, and leaves intuitively offers understanding for life cast from shadow and light.
Though grounded in a rural life I'm exposed to the outside world through airways, internet, and a whole variety of publications. My work embraces this. Reflections of current events, economic understanding, or political verbiage is injected in drawing titles. As René Descartes stated, “I think therefore I am” .... I follow with, “I draw because.” My work represents the world its present in.