Drawing of the Ca' d'Oro from memory, placed inside a camera obscura, on location, with the light of reality projected over the drawing. Photographed digitally. Memory has long been the driver in my drawing practice, but it has repeatedly produced the same roadblock: how can the difference between what is remembered, what is seen, and what is physically present be drawn? Sketches made from memory offered an intuitive starting point, yet comparing them to measurable reality proved analytically...

Working Drawing 1 In the spring of 2020 I began a large drawing project that spanned the two rooms of my small apartment. At roughly sixteen feet long, it was assembled from 4-by-5-foot sheets of paper hung from a steel rail. The question was simple: could a drawing maintain a consistent pictorial space across multiple sheets—and still read as a single spatial whole—even when interrupted by the threshold and offset between rooms? Unlike a supergraphic that can dominate the reading of...

Perspective, orthographic, and axonometric drawing systems can be understood as frameworks that organize the pictorial space of a drawing. Historically, these frameworks have been materialized as physical apparatuses used as a means to illustrate projective drawing systems, e.g. Albrecht Dürer's woodcut of The Draughtsman of the Lute. In this example, the woodcut simultaneously illustrates and establishes the authority of the drawing method, as the illustration of one point perspective is...