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 Christopher Troutman          
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      Artist Statement:

      In my current body of work, drawing is my primary means of expression. The immediacy
      of drawing allows a close connection between mark and thought, as working from
      imagination is central to my process. Through an interaction with drawing materials,
      particularly charcoal, and sometimes ink, using mark making, layering, erasing and
      smudging, I build content in my work, as opposed to medium being selected offhand
      at the service of an idea. As a result, progressive stages of a drawing determine its content:
      compositionally, I begin with lines and shapes, yet occasionally with a specific subject
      in mind from previously completed sketches, which suggest figures and environments.
      This subject matter interacts to imply narrative and the passage of time, which is enhanced
      by dividing drawings into multiple sections. Recently, I have used multi-sectioned
      drawings to examine similarities and differences between my memories of the U.S.’s Midwest
      and of southern Japan, the two places I reside each year, by juxtaposing visual and
      spatial features unique to both locations.

      My subjects are human figures in contemporary urban settings, which I enhance by
      depicting them from unfamiliar points of view, revealing the value of everyday visual
      experience as a topic of exploration in drawing. I work from imagination, shifting points
      of view presented in drawings from the memories that initiate them. I strive to avoid
      external references until my ability to visualize a subject fails, after which I use observational
      sketches and photographs to complete final details. My interest in depicting the passage
      of time, dynamic space defined by the human figure and linear perspective, and drawing
      from imagination comes from the influence of comic book art, work by Lienil Yu is
      an example, as well as art examining the figure in urban and domestic settings within
      active compositions, such as work by Edgar Degas, Robert Birmelin.

      Lastly, my drawings are large-scale, which I hang unmediated by a frame, bringing
      them into the audience’s immediate space and making the process each drawing
      has undergone directly visible to viewers. The scale of the drawings, the figures within
      them, as well as composition and point of view, place the audience in unexpected,
      and sometimes overwhelming, spaces, enabling the resonant experiences from which
      the drawings are inspired achieve a similar resonance with viewers.