Drawings from the installation by the same name. Drawings of hugely magnified fruit stones reference Chinese landscape painting as well as Western visual traditions, to explore the topography of the seed and suggest its self-contained potential as home.

Rendered in graphite or aquarellestick on translucent Mylar at approximately 300 times their relative scale, each fruit stone image takes on a mountain-like presence that emphasizes its subject's dual nature as both stone and seed. The images float in undefined space, referencing the unlocated void of traditional Chinese landscape painting.

2002