In the series (Gardens of silence by #), which I started six years ago, I used graphite on paper. Magnani paper for its softness, which allows me to engrave the surface using hard graphite 5H. I started by dividing the surface into multiple shapes then following each edge of the shape as I draw over and over. It takes me thousands and thousands of lines to accomplish the work, microcosmic field where the plow traces the furrow.
Some lines are darker when the time comes for themes to cross each other, (I mark them by pressure of my hand), for the purpose of emphasizing the vibrations of meeting.
In the last series (Appearance by #), which I started two years ago, I used black ink on mylar, layering over and over with a small brush, by constant and light movement of my hand, from left to right, dropping the ink by lightly brushing against the mylar, line after line. With this process, I intend to reproduce the tangle of myriad lines of communication in which we are living constantly.
Whether through nature and the movement of tree branches reflecting on the surface of the water, or through architectural urban structure, they are all my inspiration. I always find deep relations between them.
Mylar is a non absorbent material, and when the ink is applied over and over, this process builds up a tiny skin with different level of thickness, the light is attracted between the grooves, rendering this subtle effect of colors, and this can change depending of the neutral or artificial light exposure, and its density.
By constantly reproducing the same pattern I’m just doing what we are doing every day in our own life, repeating the rites.
When exploring the work in small format, I found intimate connections between drawing and writing. Consequently, I usually call my work on paper the “book of my life”
The simple element of paper, brush, and pencil are all the tools of my work.
Brooklyn, New York
Artist Bio / CV
1995: Michelle Mosko Miller, New York, NY
1992: Saint Charles de Rose Gallery, Paris
1991: Germinal Gallery, Paris
1989: Loft Gallery, Paris
Gran Dia Gallery, Paris
1982: Waverly Gallery, Montreal, Canada
1976: Cultural Center, Nevers, France
SELECTED GROUP EXHIBITIONS
2008: Pollock Gallery, Southern Methodist University, Dallas, TX
2002: Surfaces, Jeffrey Coploff Fine Art Ltd, NY
2001: Howard Scott Gallery, NY
2000: Betty Wasserman Gallery, NY
1997: International Art Club, NY
Gramercy International Art Fair, NY
Erik Stark Gallery, New York, NY
1996: Los Angeles Art Fair, Gina Fiore Salon, Los Angeles, CA
450 Broadway Gallery, NY
1995: Werner H. Kramarsky, NY
1994: Colombia Heights Cultural Center, NY
Saints Charles de Rose Gallery, Paris
1993: City Hall, Paris
Dammarie-les-Lys Salon, Paris
1992: G.Gallery, Besancon, France
1990: Del Bello Gallery, Toronto, Canada
1987: Ephemere Gallery, Paris
1973: Museum of Evreux, France
1972: Culturel Center of Conches, France
Museum of Contemporary Art, Los Angeles, CA
Museum of Fine Arts, Houston, Texas
Werner H. Kramarsky, NY
Meadows School of the Arts
Southern Methodist University, Dallas, Texas
Yale University Art Gallery, New Haven
Credit Agricole, Paris
Numerous collectors, Worldwide
560 Broadway A New-York collection at work
Fifth Floor Foundation, in association with Yale University
The New York Times, June 7; 2002, Art Guide, Ken Johnson
Art in America, “Drawing for Life”, Janet Koplos
Artscene, CO, Carlton Smith
Telerama, Pascal Olivier Mousselard, France
Atelier Maeght, Paris
1975: Fine & Graphic Arts School, Paris