Our work casts drawing as surgery. Through line, we divide matter; through paper collage, we transplant tissue, grafting the skin of one body onto another. We remove and resection, augment and implant. With our fingers gloved in latex, we palpate the body, administering pastel to paper. 

These drawings are, and are about, inter- and intra-corporeal experiences. We are interested in the derangement of the body through illness, grief, love, and desire. The drawings develop in rounds of collaborative diagnostic assessment: we examine the work, identify its needs, and carry out courses of corrective treatment. We undo what the other has done, and have our work undone by the other in turn. We question and support one another throughout the obliteration and retrieval of our bodies and others’. 


Living subjects cannot see themselves in full. Through our work, we disclose to each other what we cannot see of ourselves, and re-envision both through the inhuman gaze of the endoscopic camera. These (conflicting, conflicted) accounts of self and other are interleaved in the drawings. Such a body can never be intact and is always inchoate. The immense scale of the work should serve this end, enabling the body to take the form of an emerging order that organizes itself before and around the viewer. Bodies are not objects, but processes. Through the surgical inquiry of drawing, we can trouble the objective demarcations of internal and external; we can transfigure, hybridize, and destabilize.

We inaugurated our collaborative partnership in 2018. We were both pastelists when we met two years before. Our collaborative practice became our shared priority in late 2019, and is expected to remain as such.