Illustrating many drawings, purely from memory, of interior spaces that are associated with strong childhood memories. I then stored them in this box, for reasons explained in my "Key West" work from before.
"Spaces associated with strong childhood memories", 2012

Producing a self portrait, by way of groping the face, neck, and shoulders, and not relying on my eyes in any way, the image comes to surface as if by a blind person (in theory). Simultaneously, I mimicked this gathering of facial information and scratched the surface of the material, with an emphasis on values more than outlines.
"Self portrait through palpation", 2012

Not only using audio as documentation, but as part of the piece itself, I created. Utilizing a small basket, a brick, string, and a tree, I produced a simple pulley system. This system will allow me to conduct an audio-performative piece, in which I relay between interior and exterior spaces. Contained in the prologue I set the basket into place from my interior quarters. Next, the action takes place: I attempt to throw miscellaneous objects from inside into the basket, outside. The success of catching these objects in the basket is determined completely by chance, and many objects were thrown together. Lastly, the epilogue, when I leave my station at the window, and put the objects that missed into the basket. I, then, retreat back to the window and pull the objects back into their native space. I then cut the string, and pull the string, destroying the system developed in the prologue, and ending this performative work. The recorder is in the basket through out this entire process.

"Catch and gather piece", 2012

I started to become interested in defining or documenting paths of natural, seemingly unsystematic, occurrences. This is evident in the study I made of the tree branches, swaying, in the wind. I continued on this sort of trip, and marked the path of birds flying to a bird feeder, briefly perching, and flying away. But, what I found, was that during my stay near the bird feeder, only one bird had the audacity to graze in front of me. So, the paths shown above are all from the same bird, coming from the same side of my house that is obscured out of range.
"Bird path piece #1, #2, and #3", 2012

Mentally visualizing sheep, counting to them as I slip into hypnagogia, and physically overlaying text, I document the time it takes to fall asleep through an unpredictable and unreliable system. After days of this practice, my mental performance at every other time was both withering and preoccupied with this work, and the practice became more brief through the sessions.
"Counting sheep", 2012

Perhaps my largest work, by scale, I created this mixed media. Utilizing translucent material, natural greenery, natural dyes, and layering hand made paper fragments between these layers, I created a layered mixed media work that is both improvised and meditative, in that it took months to finalize. This work thrives off of this paradoxical practice, and both are evident in the final product.
2012