The visual language of these drawings is borrowed from many places, including but not limited to satellite photography, electron micrographs, topographic maps, anatomical and schematic diagrams; imagery which might be generally categorized as two dimensional translations of the three dimensional world. There are few specific references, the many sources become a kind of soup that is constantly being stirred and sampled. The drawing process becomes an act of digestion and regurgitation- reconfiguration driven by information overload. On the most mundane level, the method is dynamic and direct, like calligraphy, where the gestures are repeated until they become almost automatic. The activity then becomes a fluid series of spontaneous choices governed by self-imposed rules and conditions. Respect is given to what has previously been put on the page, as if every line is sovereign territory, not to be crossed or obscured. Rules are flexible and serve to mediate and mold what might otherwise result in chaos. The tension (or perhaps contradiction) between spontaneity and predictability is central, facilitating the discovery and generation of new vocabulary and new rules which can then be incorporated into the process, allowing it to continually expand and evolve. 

While these drawings might resemble the results of some kind of scientific inquiry, where vast quantities of information must be sifted through for any hope of enlightenment, they are actually an intuitive response to the parallels and contradictions inherent in the enormous variety of imagery available to us now.