How do I instantly know whether a drawing is good or bad? Sometimes I feel it in the process itself. The marks may be too emphatic, when I want provisionality.

Some days my drawing hand feels leaden; the instantaneous connection between eye, brain and hand is missing.

These powdered graphite drawing are highly susceptible to failure. In past projects I thought it necessary to include every drawing produced, whether bad or good.

The drawings I’m working on now are preparation for my installation at the the Burnaby Art Gallery at the end of June. They’re practice drawings so when I begin to draw on the walls of the gallery I have confidence, stamina and speed. This archive of images will also help with scale and placement. So I need my best drawings to inspire and give me courage during the installation—a process very much like a performance.