Fragmented lines of script from a New England journal dated 1858 -1863 provide flowing, curvilinear marks on paper - fluid human strokes, sepia tones and an implied history. While suggestive of anecdotes and insights these selected strips of paper visually weave in and out of the painted surface. Through the use of collage, letters and words form intriguing records of the past that we cannot decipher.
These purposeful marks are transformed into a new visual language when edited and juxtaposed with color fields of gouache. The linear repetition suggests a continued process leading us to another level of understanding and perception. Repetitive lines of stitching sewn into the handmade paper reinforce the newly established merger of these elements and reminds us of the persistence of time. Past and present meet in an intimate and delicate manner.
As this series progressed, the mark-making emerged as the primary focus. They evolved into eloquent, playful, layered graphite marks which dance across the surface as a fluid energetic record of the present moment. The transient and illusory is metaphorically suggested by the use of mylar drafting film as the drawing surface, replacing the paper used earlier in this series.
When multiple works are hung in tangent a narration takes place from one work to the next - a visual narration or choreography evoking the culmination of entries in a daily journal. Each work has its own individual presence yet together a fuller experience is presented.
"Flowing, curvilinear marks are interrupted by horizontal stitching recalling the scribe's horizontal guidelines that support the bi-linear text. The fluid, handmade strokes, soft sepia tones, and the personal history of the journal speak of hope, but also suggest anecdotes and insights - fragmented records of an indecipherable, but intriguing past. The faint image nestled in the background exemplifies the palimpsest effects."
–Kathrine Page, Scribes of Hope II, traveling exhibition, Christians in the Visual Arts