I create large-scale wall drawings with very few materials—usually a light source, a surface, and pigment. The addition of light to these drawings makes them appear convex, creating a tension between the siphoning negation of the light-absorbent charcoal and their dominating and protruding physicality. This dichotomy is revisited in the extremely restrained abstract forms, which, on closer view, can be seen as a culmination of idiosyncratic physical marks. They embody notions of mass, the sublime, and the totemic. I like to think of them as “gesticulations in the void.”