In 2000, I began a series of austere graphic text drawings, which were composed of my hand-written transcriptions of passages from Henry James’ The Wings of the Dove, Freud’s Dora, the Hebrew Bible. I juxtaposed quotes as I saw confluences among these works. These works were both drawings and essays. Every word was legible, especially in the greatly enlarged pigment prints. Occasionally, I interjected my own thoughts between the quotations. As I worked, I began to think of these strands of text as neurons, the space between them as a synaptic gap, and the thought, either the reader’s or my own, that linked them as the neurotransmitter carrying an electrical current across the gap.
In the same year, I began a collaboration with master digital printmaker David Adamson, founder of Adamson Editions in Washington D.C., an association that continues to the present time. David’s associate John Hughes, David, and I also made a series of pigment prints based on my text drawings. Digital printing at this professional level allowed for an uncanny sense of graphite on a large scale, and for legibility of the text.