I hired a model in my studio for several days in the summer of 2011. I found that when I drew her with my right hand, I felt I needed to get a true visual representation of how she looked. But in doing this I noticed that I had forfeited feeling for form. To free up my drawing, I tried using my left hand. This allowed me to draw what I felt instead of replicating what I saw. I liked the results. In fact, I loved the results. I liked the partially completed forms, the shaky line, the ability for the viewer to fill in the missing information and find the boldness, or outline of a feature that could draw the viewer inside of each work of art. The less information I supplied, the more I liked the pieces. In July 2012, I did the same drawing exercise, producing another group of primitive drawings, whose features were often androgynous representations of human emotion.
