In early 2009, I found myself without a place to live and was traveling between New York and Boston, staying with friends and looking for work. I started a journal where, upon looking back, I noticed that I frequently referred to myself as a “floating weed”, and I’ve used my own reaction to the feeling of being Floating Weed as the basis for this body of work.
The images are set in a swirling milky-grey environment, reminiscent of a thick fog at dusk, or a frothy ocean surface. All include a fragment of a human figure, sometimes accompanied by an object or animal. In order to create this environment, I brush a few layers of diluted black ink over printmaking paper, then let the paper buckle and kink on it’s own. When I’m satisfied with the levels of black, I brush a few layers of diluted gesso over it and again let the paper do what it will. The time that passes between the layers depends on how long the ink and gesso takes to dry. This process of tinting the paper is important in making the image, as it allows for the elements of time and chance to be part of the artwork. These elements are large factors in the shaping of my experience, so I find it fitting that they are the factors shaping the structure of my drawings. The human figure, as well as animals, are drawn out of the existing surface as a means of expression. The figures are often fragmented as an attempt to distill the image to what is necessary to create the mood I envision. The process helps me to visualize new ideas that convey ambiguity and uncertainty. This is the first reaction I have in describing myself as a floating weed, and this is the initial reaction I’d like my viewers to experience.