Painting is very like skin—thin ephemeral layers composed of supernumerary marks; a formless whole that speaks of identity, whether through its minute linear swatches, or the reflection of the architecture and systems it covers. But unlike skin, the living organ, painting is a journey on which one never knows the destination. Drawing is my practice of collecting and ordering values through the sharpest of divisions. The line—the coursing vein of inspiration—becomes story, prophetic and well-chewed, an active portrait whose silhouette contains all possibilities, and an atmosphere in which to learn the objective, to realize the divide between surface and form, discover the personality in the abstract. Illustration—leaning like a child on the given word, finds oneself much in books, left and right in conversation, self and witness seeking an identity as in a reflecting pool. These oil, tempera, acrylic, graphite, ink, pigment, pixel and vectored artworks are the transparent surfaces, spelled out in the skin definitive of architectural constructions, in the fingerprinting of the human figure in landscape, and in the physical surface of material–the artistic medium itself.