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Tara Geer I like to draw details that get overlooked-- the reflections inside a melting cube of ice, the blur of a train passing, stains in cement. Things that don't exactly make sense. Things I would have editted out if I were trying to make a picture full of recognizable objects. Sometimes in my studio I build things to draw. Often I can use raisins and strings and paper and I have an object so complex that I can draw it for many days. I think the most important part of drawing is seeing: The more I look around me, the more the world opens up as if under a magnifying lens-- the spoon in the cereal bowl and the floating bits of cereal lose their distinction --there is fuzziness and wateryness in spots, glassiness, stillness, razored cracks of light, thick blackness. The world is strange and beautiful and full of life. For me the challenge of drawing is sorting through all this visual detail that exists in each crumpled gum wrapper, or incomprehensible undergirth of a plant holder, and making that -- whatever that is-- into lines, into two dimensions. I can only show and explain these details that I see by drawing them --they are not things that have names. My mind has to struggle with images and texures and feelings swimming through unnamed. My sketches from the world around me are love letters to looking, but wordless ones.
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