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Imagine drawing a teorema. A provisional observation. I start with large white rolls, cut them to lengths, in my drawing shed. I start moving right to left, down to up, following heliotropes of sunlight across vertical walls. I push and shove against the sense of reading left-to-right; the drawing’s marks make provisional landings, touching base on the texture-skin of the paper, leaving tracks. At a scale larger than my body, the drawing must project into architectural volumes. Now, something arrives, diagram, intruder, angel, stranger.  Could a theorem, visually, announce itself in traces-- tracks and slashes? As I work, I draw on a physical memory of places where trauma’s been exposed. Without a way to speak, their stories transliterate into linear masses in sequences. Cadences of a march...To be stopped,--red. Reportage of a disappeared event - minimal evidence, look closely, the drawing might heal or open scars? ​



Four Core Chambers, Martina Johnston Gallery, Berkeley, California 2013. Curated by Katie Anania. 

Demobbing: Landscape, Structure, Bioform, Headlands Center for the Arts, Sausalito, California 2013. Curated by Brian Karl

Christina McPhee: Teorema Drawings, Cara y Cabezas Contemporary, Kansas City, Missouri 2011. Curated by Cara Megan Lewis.

Domains, Parameters, Wanderings, Acadiana Center for the Arts, Lafayette, Louisiana, 2011. Curated by Brian Guidry. 


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