My durational drawing practice dissolves the distinction between process and product, rendering these two notions indivisible from one another by embracing time as both material and site. In these works I employ processes that are equal parts obsessive and meditative, repeating small actions, gestures, or marks until they coalesce into independent fields, flows, structures, or spaces. As the work has evolved the durations and the scale has increased monumentally. My most recent works exist on the scale of architecture and extend over durations that are the aggregate of days. For me these large-scale works are phenomenological blackholes, maelstroms in time. Their fixed durations manifest and contain space-time, and give form to ulceration on the surface of the present. The drawing act has become a purposeful disconnection from the continuum of time and method for descending into the singularity of a given moment. The effect is one of being immersed in space-time where its whirling vortex allows a production uninfluenced by the limits, and structures of external time's rate of flow. Beyond my private experience, these performative, drawings connect to a public perceptual field where the drawing, audience, and maker occupy the same present. In these pieces, I become a part of the work – my presence, labor, time, mark-making tactile-kinesthetic body movement and the topological images they yield all exist simultaneously. At the outset of these works, each mark embodies only the moments of its making and exists as a record of both attention and intention.