The White Columns Curated Artist Registry is an online catalog of digital images documenting the work of artists who are not affiliated with a commercial gallery in New York City. Each submission is reviewed by our curatorial staff; in order to be considered for the registry, one must submit work digitally via this website.
Ground Covering and Ghosts, (2015-), are works on paper depicting various manmade structures suggesting human traces within the Western New England landscape where I live and work. The imagery in these silverpoint works -- blueberry nets echoing shrouds, reflectors resembling eyes, tarps spread over gardens suggesting body bags – are utilitarian structures discovered within landscape environments yet are also metaphors for abandonment, dislocation, and displacement. On the other hand, they are hopeful symbols for human resourcefulness and creativity. Isolated, and at odds with their surroundings, these ‘figurative’ structures become metaphors for our increasing sense of dislocation from the places in which we live and work.
I use silverpoint in these works specifically for its faint, ‘ghostly’ delivery of image to paper. I am interested in how silverpoint’s diaphanous affect suggests memory or, what Marvin Carlson refers to as ‘ghosting,’ – “seeing something we have seen before.” Also, in relation to ghosts, Peter Davidson proposes, “the revenant narrative is essentially of the north and is a product of occluded weather and broodings upon the fate of the dead.” This idea is further emphasized in the Ghost series as the organic, billowing shapes of the nets themselves resemble the outline of albeit imaginary ‘ghostly’ shapes hovering within the landscape. Finally, silverpoint itself is a material that over the course of time, morphs from a cold-silver into a warm sepia tone. The transient nature of growth and decay, as seen in the tended blueberry bushes temporal life-span, is echoed in the amorphous attribute of the material used to depict them.