I’ve been working a lot with ball point pen. And cross-hatching, something I never got the hang of when I was first learning to draw. I had a teacher in grad school who uses it a lot, citing its anonymous quality: “Anyone can do it”. The hand of the unknown artist.
ı So, I’ve started a series of big (32” x 40”) abstract pen drawings – which seem to be taking forever – here’s a detail above.
ı It's not what I do, but it keeps coming up that I need to draw a bit from real life. For balance?
ı Below is an attempt to bring my abstract ball point style to simple still life. It takes more planning than I’m
used to. And I tried to get at form and structure without sacrificing the spontaneous line quality. That said, it requires a degree of concentration that, when well into the work, borders on meditation. I didn’t know that would happen. But I like the idea that interior and exterior worlds overlap here: in line, in process, in image.
I’ve been working a lot with ball point pen. And cross-hatching, something I never got the hang of when I was first learning to draw. I had a teacher in grad school who uses it a lot, citing its anonymous quality: “Anyone can do it”. The hand of the unknown artist. ı So, I’ve started a series of big (32” x 40”) abstract pen drawings – which seem to be taking forever – here’s a detail above. ı It's not what I do, but it keeps coming up that I need to draw a bit from real life. For balance? ı Below is an attempt to bring my abstract ball point style to simple still life. It takes more planning than I’m 
used to. And I tried to get at form and structure without sacrificing the spontaneous line quality. That said, it requires a degree of concentration that, when well into the work, borders on meditation. I didn’t know that would happen. But I like the idea that interior and exterior worlds overlap here: in line, in process, in image.
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