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The Early Works

In the beginning, I drew from the theater in order to experience the performance. I began to reflect on my life in more depth by looking closer into sketches of the theater. My practice was a model, the observation of anatomy, all the moving parts in motion, the still images looked over further at the development of carefully thought out reviews. The reviews that began in sketches to exhibit the critique, since the beginning I never knew what I was looking at. The poses from one medium to another, an adaptation is endless in the creative process made to look at the art of other artists, of various disciplines. I explored narratives that took on a journey into being, and acting players over lapping moments. All of which explains how memory creates more familiar images from the personae sketched over, and over, and over again. Different kinds of theater artists, I found stories told through gestures, and costume, or without costume, and nudity translated to honesty, and colorful tableaus, the line art on a white page of the sketchbook read coherently, more clearly without a background at all. Thus these adaptations, designed to relate to the experience of going to the theater, reminds us why the source of influence and inspiration for something to appear perfectly clear to the artist, must leave in the end with the audience. Elaborate designs extend beyond the show into some-altered reality, a collective consciousness, through the imagination of figures from memory. What was observed on stage felt real. So the sketches developed more like scenes of multiple perspectives on the model, the audience, looking at the art.

Most memorable events

Cruel Intentions the Musical 2019