An edge posits the start of something new or the end of a particular continuum. The edge implies cessation or genesis and is the boundary between the visible and invisible, the seen and unseen, in an image. The edges of a picture typically play a subservient role, serviceably defining the boundaries to the primary action. Many images even aim to direct one’s attention away from the edge, the composition intentionally structured to direct the viewer’s eye to a place of prominence safely distanced from the edge.
In this group of drawings, the edges of the page are embraced and accentuated as intermediaries between what is and is not pictured. The viewer is even beckoned to negotiate with what inhabits the field fenced by the linear edge of the page, with what isn’t present. Other “edges” are alluded to in the imagery that surfaces from a variety of sources: doorways, coal mines, a boxing ring, death. The silence of the caesura, the dwellers of the breaks, and the relations of the known and the unknown proffer the questions in which these images pleasure.