WORKS ON PAPER

Proposal Drawing for Everland Café

2014 — 24" x 36"

graphite and white colored pencil on grey toned paper

In the Everland Café, it is aways 10:30 in the morning. Every cup, plate, bowl, fork and knife, features food-safe custom surface treatments such that each of these objects "hold" the light and shadow falling on them from the window at 10:30 AM. When you, as a diner at the Everland Café, pick up your cup, the shadow cast by the cup onto it's corresponding saucer (and onto the table surface below) remains imprinted in the saucer. As a fully immersive and functional installation, the plan includes light and shadow modification of the floor, walls, chairs, and tables as well as all tableware items. Thanks to the support of curator Julie Rodrigues Widholm at The Museum of Contemporary Art, Chicago, the MCA's café space served as the source image for this 2-part proposal drawing. A total of ten items in the drawing can be removed, so that viewers interacting with the drawing can experience what it feels like for the shadows of these objects to remain in place after these items are relocated. 

Proposal Drawing for Winter Azimuth

2013— 19.5" x 25.5"

fine point pen and colored pencil on grey toned paper

This proposal drawing for the "Winter Azimuth" installation was completed for the Elmhurst Art Museum before I'd had a chance to conduct a thorough daylong sunlight study. It shows the approximate places I thought the sun would land in the space, and the approximate color temperatures I expected to see, at sunrise, sunset, and solar noon.
Terminé este dibujo de propuesta para el proyecto Azimut Hiemal en el Elmhurst Art Museum antes de tener la oportunidad de hacer el estudio completo y detallado de las proyecciones de la luz del Sol. Refleja los lugares aproximados donde pensé que caería la luz en el espacio y las temperaturas de color aproximadas que esperaba ver al amanecer, al atardecer y al mediodía solar.
Azimuth Proposal Drawing.jpg

Untitled (Los Talleres de San Miguel de Allende)

 

2013 — 20" wide x 13.6' long (including floor, wall portions)

powdered graphite and pigment on excavated paper surface

Los Talleres de San Miguel de Allende is an artist's residency in Mexico I was fortunate to have gotten a grant to attend. The studios feature southeast facing, floor-to-ceiling windows overlooking a breathtaking mountainous horizon. Made of a combination of additive and reductive techniques, this piece is my attempt to bring part of the experience of being there home with me.
I began by cutting the paper to slightly larger than the dimensions of the sunlight spilling into the space at 10:30 in the morning. For me, carving into the surface of my paper represents a mark that cannot be erased, an insistent way to capture the ephemeral. As I tried to both replicate and abstract what it looks like when sunlight falls on a white stucco wall and a polished concrete floor, I removed the entire, smooth top layer of the paper to reveal the softer, fibrous inside, using its greater textural quality to "hold" the powdered graphite in its darkest iteration. For the wall part, I reversed the process: I coated the paper in pigment first, and then peeled the top layer of the paper away to reveal the brighter, white inside.
Tuve la suerte de haber conseguido una beca para una residencia artística en Los Talleres de San Miguel de Allende en México. Los estudios tienen enormes ventanales que dan al sur-oriente con vista hacia un imponente horizonte de montañas. Esta obra, lograda con una combinación de técnicas aditivas y reductivas, es mi intento de captar la experiencia vivida allí y quedarme con una parte de ella. Empecé cortando un papel de dimensiones un poco mayores a las del dibujo proyectado por la luz del Sol que se vertía en el espacio a las 10:30 de la mañana.
Para mi, el hecho de tallar la superficie del papel representa una marca imposible de borrar, una forma de insistir en captar lo efímero. En mi intento de reproducir y a la vez abstraer la imagen de la luz del Sol sobre una pared de estuco y un piso de cemento pulido, pelé toda la superficie lisa del papel para que quedara la parte blanda y fibrosa de adentro. Usé esa rugosidad para retener el grafito en polvo en su versión mas oscura. Invertí el proceso para la parte de la pared: empecé cubriendo el papel de pigmento y luego pelé la capa superior del papel para revelar el blanco mas claro de adentro.

Anthology of Emphases

2011 — 8' x 16' 

paper fragments on foamboard spacers, 
interior latex on drywall

A meditation on how much we can tell about something by what we see of it and how we fill in the gaps, "Anthology of Emphases" is derived from a photograph of a parking structure taken at night. The piece features selectively extracted fragments from this source image, with shapes that retain artifacts resulting from the initial, projector- traced drawing. Very much centered on process, "Anthology of Emphases" is about selective attention and deliberate slowness.
Una reflexión sobre lo que logramos percibir de una cosa en base a lo que alcanzamos a ver de ella y la forma en que llenamos los espacios no vistos, "Antología de Énfasis" proviene de una fotografía de un estacionamiento tomada de noche. En la obra figuran fragmentos seleccionados extraídos de esta imagen; las formas conservan los artefactos digitales que resultaron del dibujo inicial, calcado con proyector. "Antología de Énfasis" se trata principalmente del proceso, de la atención selectiva y la pausa intencionada.

3679

2011 — 27" x 13.75" (approx) 

chalk pastel on arches/rives on spacers, interior latex on drywall

What is the precise hour when the sodium halide lamps illuminating the interior of a structure equal the luminosity of fading daylight outside? Generated to explore this question, "3679" is derived from a photograph of a parking garage located at 3679 North Lake Shore Drive.
¿Cuál es la hora precisa en la que la luz de las lámparas de sodio y halogenuros que iluminan el interior de una estructura es igual a la luminosidad exterior del día que se va apagando? "3679" se concibió como exploración de esta interrogante. Proviene de una fotografía de un estacionamiento ubicado en el 3679 North Lake Shore Drive.