In her work, nothing stays white.
To create evenly surfaces, she works with black rectangular sponges. For lines, speed or a mist, she uses an American goose feather. There is pure powdered charcoal in a plastic pot, which she applies with a wad of cotton, “for shadows which are too subtle to draw.”
It has to be built up layer by layer. Until an almost velvety texture has been created and you, the viewer, get sucked in.
After a day’s work, the artist is covered in charcoal. In her work, nothing stays white. “Even if I wanted to, the paper gets covered in everything. I think, in the end, I do remove things.
I always start with the darkness, but the actual drawing ultimately occurs by erasing.”