As a long time arts educator and the founder of Atelier 6000, I have embraced over several decades of MARK MAKING as a language, and an expression of selective seeing. Making marks is always the same, but different for each individual. By sharing my mark making I am what I am- a teacher, a designer, an artist who imposes images of invention and reflection of real and unreal imaginative landscape and environmental structure as my individualist style of mark making.
Having grown up in the “northern Midwest), I witnessed the challenges of change to familiar landscape through natural disasters and climate challenges. The openness of space was ingrained in my experience: a forever present horizon line, the changing of seasons, seasonal incidents ie: tornadoes, floods, blizzards all challenging encounters.
From all these early remembrances I became a visionary recorder of facts. Images of landscape and waterscapes often have imposed intention and meaning through my mark making. Cycles in nature, inside and outside views of objects, an investigation of micro and macro scale and volume in space began to clarify and give reason to my marks and compositions. The large format drawings paintings and prints were all rendered from the same information and for the most part represented abstraction of real places. Most of these mappings I referred to as “pieces of land” or “trapped environments”. Therefore my work has become obsessed with humankind’s paradoxical nature-that as we race toward an unknown future, a part of us yearns for the familiar past.
Most recently my language of marks has represented an added coding mechanism in the recording of this examined landscape and space. The marks illustrate an investigation of both natural and scientific information. In collaboration with earth scientists (geologists and hydrologists) I have become obsessed with the structure of various land mass, the identification of water shed regions, glacier kettle lakes, and the saturated zone of the water table.
Metaphorically in my visual mark making I imagine change and record “table settings” in the landscape. I continue to detail above and below ground imagery; the movement of water, rambling river- beds and the flat vast lake fields of my past. Climate controls the water table and as we are experiencing the melt of the glaciers and envisioning the loss of ocean shore-lines the conversation continues and the question still remains “what about the water table?”
Patricia Clark : Bend, Oregon