Images are ordered for visual flow rather than chronology. Scroll up.
Almost all the source material for these collages is my own ink-on-mulberry-paper paintings. Using scissors, razors, rolling wheels, and my hands, shapes emerge from my physical handling of the paper, much as they do when applying the ink itself. Focusing on a movement that goes through my whole body and my imagination, this dynamic is then transferred on through to the scissor---turn this way, turn that way, curve, cut, begin, and end. My hands trace the edges of the sheet or fragment and at some arbitrary moment I cut into it without regard for what is on the surface. The fact that the ink has bled through to the back of the paper means that every piece has a two-sided possibility. This duality introduces instances of relatedness, difference, and serendipity that I could not create deliberately. Once mounted to a support, its new envelop of space, it may appear to resume its former life simply as a painting.
Although the fragments are usually made from a single painting, once they fuse, they create a completely transformed entity. Impersonating living beings, they move and gesture, generating uncanny resemblances that suggest life and presence. Standing, spinning, floating, twisting, and tilting, the mystery of this embodiment is an aspect of abstraction that intrigues me.