In 1998, I led a group of students on a study-abroad program exploring the idea of classical beauty and its manifestations in Roman ruins, Romanesque architecture, and Gothic cathedrals in France and Italy. I returned from the trip with one hundred small drawings of various architectural monuments. These drawings were the beginning of a process of exploration into how to represent the experience of being present in these historic spaces.
Eighteen years and 13 drawings later, I have developed a disciplined work process that begins with site selection and research, preliminary drawings to determine format and materials, and a final, large-scale drawing that attempts to deal with the particulars that make these magnificent sites unique.
One reason I chose Angkor for the second drawing was that it was originally built at approximately the same time as Chartres Cathedral, a half a world away. A second parallel came in the restoration: the French restored Angkor in the 19th century at roughly the same time they were restoring Chartres. The restoration process employed a very particular sense of what it meant to be an “old sacred space.”
Thatbinyinyu is a Buddhist temple, one of the 2229 remaining temples in Pagan, Burma. It is built of brick with stucco overlay and decorations. Closely related to Indian architectural forms, this gu-style building has inner shrines used for meditation, hallways and stairs all shown in a darker value in the drawing.
I first visited Uxmal in 1980. The intricate tapestry like carvings of late Mayan buildings inspired me then to create a series of decorative collages. After returning from Southeast Asia in 2004 I was thinking about my next drawing, and The Palace of the Governors came to mind again.
After completing 5 drawings in the Anastyolosis Project I realized that a central drawing challenge I was attempting to unravel was the role of time in the life of these buildings. Drawings are adept at representing the two dimensions of height and width, and with attention to perspective can suggest the 3rd dimension of depth as well, but are not well suited to presenting the 4th dimension of time. So for my 6th drawing I chose a relatively simple Mayan monument, the Castillo from Chichen Itza on the Yucatan Pennisula.
The Great Mosque of Divrigi, Turkey was built by the Seljuks, a Turko-Persian group. The sultan who commissioned the mosque in “the middle of mountainous nowhere” hired masons from what is now Armenian Georgia and they used small Christian Churches of the time as a model for the interior.
This is the building that blew away everything I thought I knew about decoration and pattern. The Byzantine idea about the dematerialization of space through the use of pattern and gold leaf is awe-inspiring. A Byzantine interior overwhelms the senses and lets you know that you have entered a place that is not of this world.
The tenth drawing in the series, completed while artist in residence for the City of Salzburg. This smaller single panel drawing deals with the entirety of the building from multiple points of view and reflects daily visits to the site over the course of the residency.
The tessellated floor of the Basilica of San Marco in Venice is often described as “a marble carpet.” It was laid by Byzantine craftsmen from Constantinople and includes both opus sectile (obtained by setting out pieces of different colored marble to create geometrical forms) and opus tessellatum (obtained with tiny pieces of marble or glass used to create floral motifs or animal figures).