Through the journeys of my studio practice, I have realized that the drawings I create have become artifacts: evidence of the search for my life’s purpose, marking visiting points and resting places along the way. To begin a drawing, I engage the paper with repeated circular, gouging, or scrawling actions using my chosen tools: graphite, sharp pencil points, the shards of broken pigment sticks, all materials that can bear my feverish marking. Simultaneously, I recall the emotions and life experiences that have given shape to these marks, informing my reactions to them and guiding my resulting intuitive movements. As each mark opens the door to my feelings and sensory memories, I work instinctively, accessing drawings that have existed all along, now made visible through the process of making. My movements resonate with shamanic folk dance as my body reaches and communes with the paper's surface, and the intense physicality of my performative process results in the accumulation of marks upon the page. Contemplating the boundaries between the art of mark-making and spiritual devotion, I enlist my athletic strength and endurance in order to orchestrate series of frenzied marks that give the impression of electric shock waves or metaphysical frequencies over the paper’s surface. The resulting drawings, ranging from hand-held to mammoth in size, have become a crucial part of my growth as an artist, and the return to drawing as a focus has been tremendously liberating. While drawings are often seen as studies—jumping off points, or starting places—for me, this new commitment to working on paper has spurred an intense exploration of process and performance. This is, for my practice, a new frontier, and one that feels like a natural catalyst for personal evolution.