Through drawing I consider density, accumulation, pattern, and scale. My dark drawings are made with ink and technical pens or small brushes on paper. The marks made with such tools are usually quite fine and building a surface this way takes time. A drawing can grow slowly like a rock or a plant. Sometimes the marks are aligned into regular patterns. At other times I am moving all over the surface of the page. I am very conscious of passing time, of marking time, while drawing this way. Certainly many experiences have influenced the making of these drawings. In the woods just before nightfall, there is a specific moment when everything is dark yet still distinct. Geologic and biologic patterns of growth are of interest to me, as well as such “women’s work” as embroidery, knitting, weaving and quilting.

Pat Boyer
There’s something about being inside the woods, actually touched by the trees, chilled by the night and lighted by the moon, that brings me to my senses; I can become the landscape.

John Bybee
In Reflections of Narcissistic Fish, essentially I’m making fun of myself as I identify with the story Narcissus. I too have become entranced by a vain reflection, a life consumed with building my art career, my home, and my personal relationships. Like many other people in this time and culture, I have become detached from what is happening in the world. I’ve become complacent, focusing ever inward. I have become oblivious to the outward forces that still, nevertheless, pull on me, sometimes in directions that I wish not to go and into situations I wish not to be. To represent this, I’ve chosen the fish that would be below Narcissus peering up only at a reflection of themselves - the “Narcissistic Fish.”

Alexander Cheves
My work is fabricated primarily from wood, plaster, concrete, steel, and paint and is formed into ambiguous, free-formed shapes and designs that are drawn from hills, mountains, highways, buildings, clouds, swimming pools, etc. I use these as a modular, sometimes overlapping cast of characters, similar to their actual counterparts. Each piece is an encapsulated event that moves to imply aesthetic relationships between man-made, industrial structures and the California landscape that absorbs them.