OPTION 1)

What what words words are here in these drawings. I am struggggliiinnnggg alot with worrrrrrddddsss now. Words and associations. Words and ties to history and bodies and content. I am trying to reattach words to new things. To shake them from their birthplaces or point to the fact that the place where we locate the birth of a sentence needs to be questioned. I want more run-ons and manifestos. I want to only speak in declarative statements? I want words to be meaningless beyond their sounds and for them to just be vehicles for tonal communications of emotion. Yet. Somehow. Words are still important, if not fundamental to my process of sketching. The images attached are dependent upon words that are tied to specific and historical meanings. Al Pacino means Scarface and Dogday Afternoon. What am I saying about Serpico? When I write Al Pacino’s name in a sketch I do not mean the action of running nor the color mauve. I mean an actor who made his career on yelling at people on camera. So I guess I want it both ways. I want words to mean specific things when I am communicating with myself in these semiprivate images but I also want them to mean nothing when I appropriate a character ‘s monologue. I want to point to the fact that it is unimportant that a text was delivered in the first episode of the second season of the Bachelor because it could have been said by the president thirty years later. The source is, in fact, arbitrary. What is important is that everything in the universe conspired to string together that series of words and the speaker has no more ownership of the phrases that escape his mouth than the grass upon which he stands.

YET without the words written on the accompanying pages the images are unstable. Here the text and image entwine to create a third thing that exists off the page, thereby dislocating the artness of the paper. The function of the pages in these circumstances is not to be an art object but instead to be a base from which the art can emerge. If the paper is 2 dimensional the art exists in the third, what is not yet visible and can only be imagined. With all of that said I completely renounce any attachment to the ideas set forth in the former sentences. These ramblings are solely inspired by a desire to subvert any legibility of my process both for myself and others. Despite my genuine desire to bring further illumination to the images presented with insightful commentary, I understand that any posturing as such would be completely fictional, as I perhaps least of all have insight into my own doings and undoings.

OPTION 2)

Attached are an image of my calendar for October of this year (6), two images of a story board for a new video I am working on (1 and 2), a splash-down of an initial structure for an upcoming play I am working to create (3A), the logo and slogan for a nonprofit I imagined (3B), new costume designs (5), business card layouts for a company I have not created (4A) and the interior of a set for an upcoming project (4B).

OPTION 3)

My shoulders are often sore because I take my backpack everywhere… out to dinner, to dance class, for picnics in the park and concerts. In it I keep a book that is Coptic bound with a fabric cover and heavy weight paper for drawing, a fat moleskin with thin light paper that is unlined for writing, and a monthly, weekly and daily calendar. I also always have one Precise, rolling ball pen that I, as a rule, never lend out. The images included represent a sampling of the ways I use putting pen to paper as a tool for my creative practice. Sometimes I am documenting daily events that had an emotional charge, other times mapping out what I hope my future will look like, or as a way to help me catalogue ideas and thoughts for projects. Despite the seemingly clear cut system of appointments in this book there is often overlap or misfiling so I always keep all of my planners, journals, sketchbooks and calendars on me. Because although I am good at remembering when I wrote something down, I don’t always recall where I placed it.

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