Glier Inventory

A bark motif, combined with a slanting 'S' curve. I was sitting in the woods right outside my studio, looking at trees and freezing. The bark motif is representative of the cold, in its tight, terse, and close-together lines. But the 'S' adds volume, showing how relentless and pervasive.

Winter crystal motif.

Based on the wild rose bush in winter. Full of thorns with a round berry shape, but bare. This is a transitional drawing hovering between my thorn and berry motif and my crystal motif, which is part of my winter visual vocabulary.

Repeated dome shape as a script.

This drawing is about understanding the replicative iteration of the growing pattern of the crocus.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This double-sided drawing.
Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

3/29/21, 50º v.3 Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Improvisation on spring bulbs.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

B-day drawing.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Birthday drawing of a maple leaf. Looks like what it is.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This drawing is an improvisation of the branch of a Weeping Willow.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Improvisation of a branch of a Weeping Willow.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This shows opposing leaves that increase in size until they reach the tip. I found the leaf organization on a plant I picked. The whole shape of the branch of leaves is organized in a manner where their collective form starts to represent a leaf itself.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This shows opposing leaves that increase in size until they reach the tip. I found the leaf organization on a plant I picked. The whole shape of the branch of leaves is organized in a manner where their collective form starts to represent a leaf itself.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This spider magnolia turned into a script of sorts.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Representational drawing of buds. Looks like what it is.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This is a distillation of the texture of locust bark.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This is a double-sided drawing, with each side playing on the same idea. Both are a script of the peony bud opening. Each single line shows a peony bud opening. When you view it from one angle, you can see the shape of the bud, from another the form looks like a birds-eye view of the peony blossom.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Again, this is a distillation of fern structure.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This is a script improvisation based on the pointed oval-shaped leaf of a Euonymus alatus, more commonly known as a burning bush.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This is a script improvisation based on the pointed oval-shaped leaf of a Euonymus alatus, more commonly known as a burning bush.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This is a script of the movement of a pointed leaf. Possibly an oak.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

Leafs. Barks. Bulbs. This drawing is part of a collection of Hoosick Field Notes called "plants" that is made up of distilled extractions of plant life from around the farm.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This is a pretty early example of me flattening out the shapes and removing any overlap or volume in order to make gouache paintings that only focus on, or intentionally emphasize, shapes. They are a collection of flat forms, of symbols, that start to build a vocabulary of their own.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This drawing is a lot earlier. Almost four years. But even though they were made completely separate, and at completely different times, the drooping form is repeated. This was unintentional. I am sure I had forgotten, by the later drawings, this earlier field note. Yet, my interpretation of the sound didn't waver, like the constant rrrrruup of frogs hasn't wavered over the years.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This drawing is a little different. It's another drawing of the fullness of the voice, but this time I tried to add another dimension: volume. I added spatial volume in the drawing to try to get at the depth and sonic volume of the sound.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This is a double-sided drawing.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This drawing specifically is probably the most successful example of my experiments with drawings of the bullfrog's voice. It figures into several other pictures, including MG2045 and 2046.

This drawing is part of a collection of Field Notes called "Bullfrogs." There is a small pond in front of the house surrounded by Willows that is full of Bullfrogs. This whole set is different illustrative interpretations of the bullfrog's guttural voice.

This is a new bird call. The "cheer" is a swelling sound. It's not raspy, and it's not a clear noise, but it is a harsh "Ch" sound like in the words "birch" or "chip." I was trying to replicate that sound with the close forms defined by tight-knit and repeated curves.

This drawing is part of a collection of the Field Notes known as "Birds and Birdsong." Birds have been of interest to me since I took a birdwatching class in college. On assignment for Art Forum in the 80's, I wrote an essay on the relevance of Audubon to contemporary artists. I am always amazed that there is a society of birds any place you might be - a society that is constantly intermingled with human society - and when I started to be interested in using all my senses to describe a landscape, birdsong and the sound of feathers were two of the first sounds I tried to incorporate.

This is a new bird call. The "cheer" is a swelling sound. It's not raspy, and it's not a clear noise, but it is a harsh "Ch" sound like in the words "birch" or "chip." I was trying to replicate that sound with the close forms defined by tight-knit and repeated curves.

This drawing is part of a collection of the Field Notes known as "Birds and Birdsong." Birds have been of interest to me since I took a birdwatching class in college. On assignment for Art Forum in the 80's, I wrote an essay on the relevance of Audubon to contemporary artists. I am always amazed that there is a society of birds any place you might be - a society that is constantly intermingled with human society - and when I started to be interested in using all my senses to describe a landscape, birdsong and the sound of feathers were two of the first sounds I tried to incorporate.

While I was sitting by the pond behind the house, trying to draw the Robin's call, a mink walked by. It wasn't a weasel, it was far too long.

This drawing is part of a collection of the Field Notes known as "Birds and Birdsong." Birds have been of interest to me since I took a birdwatching class in college. On assignment for Art Forum in the 80's, I wrote an essay on the relevance of Audubon to contemporary artists. I am always amazed that there is a society of birds any place you might be - a society that is constantly intermingled with human society - and when I started to be interested in using all my senses to describe a landscape, birdsong and the sound of feathers were two of the first sounds I tried to incorporate.

This is a new bird call. The "cheer" is a swelling sound. It's not raspy, and it's not a clear noise, but it is a harsh "Ch" sound like in the words "birch" or "chip." I was trying to replicate that sound with the close forms defined by tight-knit and repeated curves.

This drawing is part of a collection of the Field Notes known as "Birds and Birdsong." Birds have been of interest to me since I took a birdwatching class in college. On assignment for Art Forum in the 80's, I wrote an essay on the relevance of Audubon to contemporary artists. I am always amazed that there is a society of birds any place you might be - a society that is constantly intermingled with human society - and when I started to be interested in using all my senses to describe a landscape, birdsong and the sound of feathers were two of the first sounds I tried to incorporate.

I find myself tending to draw big and round on perfect days. The "chip chips" were big and voluptuous, punctuated by sharp half-circles.

This drawing is part of a collection of the Field Notes known as "Birds and Birdsong." Birds have been of interest to me since I took a birdwatching class in college. On assignment for Art Forum in the 80's, I wrote an essay on the relevance of Audubon to contemporary artists. I am always amazed that there is a society of birds any place you might be - a society that is constantly intermingled with human society - and when I started to be interested in using all my senses to describe a landscape, birdsong and the sound of feathers were two of the first sounds I tried to incorporate.

The "wee"s are high notes and the "oh" is low.

This drawing is part of a collection of the Field Notes known as "Birds and Birdsong." Birds have been of interest to me since I took a birdwatching class in college. On assignment for Art Forum in the 80's, I wrote an essay on the relevance of Audubon to contemporary artists. I am always amazed that there is a society of birds any place you might be - a society that is constantly intermingled with human society - and when I started to be interested in using all my senses to describe a landscape, birdsong and the sound of feathers were two of the first sounds I tried to incorporate.

The second note, "dol," was much lower than the "wee" hence the drooping shape of the form. The pencil starts high then goes low and the goes high again etc., reflecting in shape the high and low notes as they repeat and play off each other.

This drawing is part of a collection of the Field Notes known as "Birds and Birdsong." Birds have been of interest to me since I took a birdwatching class in college. On assignment for Art Forum in the 80's, I wrote an essay on the relevance of Audubon to contemporary artists. I am always amazed that there is a society of birds any place you might be - a society that is constantly intermingled with human society - and when I started to be interested in using all my senses to describe a landscape, birdsong and the sound of feathers were two of the first sounds I tried to incorporate.