Abstract
My drawings are tools for release and composition. They are moments of sketching that increasingly initiate new processes of thinking during a larger project, be it a writing project, a recorded voice piece, or an installation. They have the advantage that they think about language from the point of view of its physical production, its utterance. Although I have come to enjoy some of the drawings themselves, the point is really less about the drawing and more about the type of gesture or utterance generated. I frequently work in short sequences and this helps me with possible developments. The drawings I stay with are those that carry with them a compositional potential and teach me something about what I could do next. Because the moment of execution is as irretrievable and resounding as a gesture or a voicing in performance, there is a strong energy of concentration and release involved. I use this energy as much as the resulting drawing to process some of the methodological directions of a project.
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