The drawings in this series are “motion autographs” that record the hand moving across the page during a variety of journeys, both literal and figurative, through space and time. Whether I am sitting in a darkened movie theater, traveling on a fast-moving subway train or plane, or just sitting quietly awaiting sunrise, the pen captures the superposition of many forces: the sway and jerk of the vehicle, the minute natural tremblings of the hand and body, and the waverings of the mind itself as it strives to follow a steady path. The drawings are thus faithful recordings of the inextricably tangled forces at play in these exterior and interior worlds during periods of transition.

The drawings were made by strict observance to a set of simple rules:

1. Once a drawing begins, the hand must not stop moving
2. After the initial “pass” (i.e., the first horizontal line or the first orbit of a spiral), each successive pass must be a copy of the preceding pass, offset slightly down the page
3. If the pen is deliberately lifted from the paper, the drawing is complete.

Some drawings were made in the dark (“True Grit” and “The Social Network”). In these cases Rule #2 is replaced with the simple intention to keep the pen within the bounds of the paper. In one pair of drawings (“Before After”) I suspended Rule #3, thereby removing any time constraints from the work and allowing for a more meticulous exploration of the implications of Rule #2.

Some excerpts from the series: