“Reading drawings is like leafing through a book for answers, or turning a kaleidoscope until the bits fall into place.” So I wrote for my installation reading the landscape at the University of Maine at Farmington in 1998. I still believe that the landscape can be read, that it organizes itself in signs and equivalences, that every branch and every evening primrose is doing something that has meaning for each of us. The methodology of each drawing was simple performance. I laid down a sumi ink or watercolor wash, dropped an ink line or periwinkle shells into it, and recorded the movement of its happening. The Meditations drawings use a similar method, fusing gum arabic with ink to create an image that references the human form.

Multiples of the sumi ink and periwinkle drawings may be combined to create storyboards or gridded compositions.