Of drawing, Wayne Koestenbaum writes that it is entirely liminal, a foundational element between thought and finished product. For him drawing remains "the incomplete, the incomprehensible, the noncitizen, the error, the throwaway." beside the point is far from an inquiry into irrelevancy, but like Koestenbaum's characterization of drawing Husain attempts to discard any "centrist" position through the medium itself. Instead these works on paper point (or don't point) to diffuse, unnamable positions articulated by multiple subjects, from the monstrous to the queer, or the "otherized" body. In one series, highly ornamented caricatures, idiosyncratic motifs, and exquisite corpse-like figures, all painted in black and viridian ink, morph, repeat and pulse over the paper. Their movement originates in film's rapid stutter but in turn develop their own repeating syntax. Alternately, in the Deepak series, which depict movements excerpted from a videotaped performance by dancer and choreographer Deepak Kurki Shivaswami, the dancer's repeated contortions articulate a different language altogether.

gallery website

framework by Paul Tjepkema

supported by the Ontario Arts Council