I attribute the impulse to keep an autobiographical record to my father on the one hand for requiring me to keep a journal during family trips starting at the age of eight and to my mother on the other for her practice of cross-stitching decorative samplers for her home to commemorate important events and holidays. Consequently, I’ve kept a journal in one form or another for most of my life. In a transient time following graduate school before I settled into a dedicated studio, the journal allowed me to continue my practice regardless of my location. I used it as a vehicle for documentation and reflection. But I also began using it to communicate. When a friend or mentor or lover would enter my thinking as I worked on a page, I'd photograph my hand holding the open journal and email the image to that person. I was interested in how an inherently private form might be used more publicly to enlarge my sense of community. At the outset, the photograph was simply expedient to sharing the drawing. However, over time I began to notice correspondences between the interior of the journal and the surrounding margins of reality that constituted what remained of the photographic image. In the most recent journal photographs I address this contextual relationship between book and environment with intentionality.
Facsimile Publication of Grey Journal #2 available for purchase here.