Mound & Dirty Sky
Icon "Mound & Dirty Sky", 2007, Oil on wood panel, 8 $900

I am curious about the installed wall of drawings. Do they function as a singular piece or an assemblage of individual works?  What interests you in the grouping of so many pieces?

One of my reasons for grouping the block of drawings together is initially practical; space limitations, time limitations and so on. However, since the first pieces began several years ago I intended to hang one piece close to another, yet, retain the individual framed unit of each piece and let each frame insinuate or anticipate the following. The restrained touch, repetitive warm color and similar landscape source address a consistency, continuity or thematic variation common to mass, either geographic land mass or human anatomical mass.  I want the mass of drawings to suggest sinew, vein, bone, muscle, nerves, fluids and density to be compared with untended earth.

Interviewer:  Your rather organic and animated Mylar paintings, 'Twins', are in contrast to the restrained ‘Geography’ piece.  Why are they together?

DE:  The smaller ‘Twin’ pieces suggest a singular, organ/vegetal form that could very well have been excavated from a land mass intended in ‘Geography’. Hanging on the same wall the small densely colored blocks seem to punctuate the broader scope and scale of the Geography wall.  Since I work on simultaneous series the relationship between these two groups demonstrates my manner of setting one image against another as a catalyst for cultivating expressive form and generating visual ideas.