Today I packed up my sketchbook, pens, and colored pencils to draw at the shore. There was a strong wind off the ocean all day. The sky and ocean were so dramatic. I only made one drawing but took about a dozen of so photographs. I was much more interested being in the moment instead of drawing — I absorbed every ounce of the moment that I could.

I've been in a place where yellow art is taking up all the space in my head and my studio. I went through the flat files to see these yesterday. I've wanted to move these drawings forward but haven't found what exactly would help that happen.

I now have them out so I can stare them down a bit.

On the walk home from my studio. This is one of my favorite street art pieces. Love passing by it. I think it's because it's a drawing. Like a chaulboard drawing.

I have been working on this drawing on and off for months. It goes on the wall, into that flat files, and comes out again. This is a ritual for this piece. But this week I was showing it to artist Amy Ralston during a studio visit and what I need to do next became clear. The drawing is on the wall and we'll have a conversation later today that I think may end our ritual.

Yellow seems to be the color this month. I also have started a line drawing on Yupo that i'm really starting to embrace.

Today hours by the river with my simple, compact, and trusty travel drawing kit.

I often carry this kit on a walk or when traveling so I can always stop and draw wherever I am. I've been filling the pages for some time now in a particular vocabulary and style. Only one quarter of the book is full. I have a long way to go.

It is always difficult to make new work in the aftermath of hanging a show. The adrenalin has fallen, the body wants to sleep and the head is full of new ideas. It's just the hands that are unwilling. But now three weeks later I'm ready to get back to drawing. My head is full of ideas not of drawings but of marks I want to make and the processes I look forward to experiencing. It will be more experimentation with ink and tools that may or may not be unexpected.

My drawings in this exhibition focus on measurement and probing. A ping. Each series of marks is made by filling a tool then making marks until the ink is gone. How far will the ink go?

I have always been drawn to make marks. The repetition allows me to be caught up in a rhythm; the proximity of the marks create rest and action. This is central to my work. Using tools that ask me to focus on each mark creates a meditative state. Each mark seems to take an eternity. I touch the surface, make the mark, and then move away.

I've begun making my large drawing for my upcoming exhibition. It will be fifteen feet. More details as the work continues.

Last week I began testing an indigo ink.

I have made a series of drawings since March that are the result of repetive marks and the visual rhythmns derived from the depletion of ink in my dip pen. When I make these drawings my mind is empty and the result of the process is a complete surprise.

I made this drawing after the splat. 

I had finished the splat drawing but I really felt as though I needed to make another. From previous experience I figured I might be able to make another small drawing in the three or more hours I had left in my studio day.

Making this drawing actually surprised me. My ability to maintain an even tempo and distance was quite easy. I am really please with what it turned out to be.