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In my recent work, I examine the linear language of drawing in sculptural space. Expanding on the lexicon of gestural abstraction, I deploy colored monofilament, mosquito netting, plastic mesh and other synthetic materials in site-specific, largely temporal installations. I mean to construct a kind of meaty ephemerality—an accretion of marks and their shadows delineating maelstroms of visual commotion; a teeming, jittery, torqued expanse in suspended animation. The resulting perceptual antics conjure shock corridors, syncopated detours, psychic noir.
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