Open places. Negative space. A center that cannot hold. A set of delicate balances. Where does chaos begin? Where is there a sense of calm? What is densely drawn or delicately rendered? What is merely suggested? I am interested in the viewer exploring this push and pull, this motion and stillness, the same inquiry I experience when I make the work.


I have been working more spontaneously, not editing a line or mark, rather taking the pencil, pen, marker, etc. and unceremoniously or recklessly marking the surface, allowing the resulting mark or line to appear without adjustment. The repeated marks carry the same visual or emotional weight as an object or text the viewer might recognize. Some subjects are neatly drawn and detailed, others, more cursory, carry an emotional kinetic energy, as if they have been added to the work at the last possible second. No part of the drawing is necessarily more important than the other. 


The ‘removal’ of parts of the drawing is an important part of my process. I want to remain malleable and teachable as the drawing takes shape. The drawing becomes itself not based on my grasping or aversion to any particular section of the piece but by being open to whatever changes are needed to find its “finishedness”.



Tim is originally from outside of Boston. In 1990 he came to California on vacation and never returned. San Francisco became home for many years and remains the place where he ‘grew up.’ Having spent his twenties in an epicenter of the AIDS crisis, the disease continues to affect his point of view and his art making.