Marble Drawing 20.01
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 10” x 11” prints
Marble Drawing 20.02
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 5.5 x 7” prints
Marble Drawing 20.03
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 5.5 x 7” prints
Marble Drawing 20.04
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 5.5 x 7” prints
Marble Drawing 20.05
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 4.25" x 5” prints
Marble Drawing 20.06
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 10” x 11” prints
Marble Drawing 20.07
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 5.5 x 7” prints
Marble Drawing 20.08
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 5.5 x 7” prints
Marble Drawing 20.09
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 4.25" x 5” prints
Marble Drawing 20.10
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 10” x 11” prints
Marble Drawing 20.11
Ink on Hahnemuhle Photo Rag Paper
2 unique 5.5 x 7” prints
Marble Drawing 20.12
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 5.5 x 7” prints
Marble Drawing 20.13
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 10” x 11” prints
Marble Drawing 20.14
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 5.5 x 7” prints
Marble Drawing 20.15
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 5.5 x 7” prints
Marble Drawing 20.16
Ink on Hahnemuhle Photo Rag Paper
2020
2 unique 4.25" x 5” prints
Proposed Installation
Proposed Installation
Proposed Installation
Proposed Installation

MARBLE DRAWINGS is a playful diversion from RESIDUAL INK DRAWINGS.

In this series, gestural drawings are made by dipping marbles in reclaimed ink and then allowing them to roll over the paper. The marbles become a proxy of my hand while gravity and movement direct the outcome. 

Following through with the strategies that I have set up in my RESIDUAL INK DRAWINGS series, I scan and reproduce the original drawing using digital technologies and an inkjet printer. The materiality and appearance of the two prints are similar yet one is generated by chance directly from materials, the other is a photographic clone translated through digital data. The copy is never perfect and when placed beside its original twin, the slippage becomes apparent. I invite the viewer to carefully examine the difference between the sensibility of touch and that which is derived from pixels and codes.

Within this project I play with the tropes and myths surrounding mid-century Abstract-Expressionistic painting while still subscribing to their power.