SCROLLS

The scored scroll works organize drawing and sound into extended horizontal fields. Marks are made through repeated, calligraphic procedures that register movement, pressure, and interval over time. Rather than depicting landscape, the scrolls accumulate traces of action, allowing relations between body, environment, and duration to become visible.

Each scroll is structured as a score—part notation, part record of action—developed in collaboration with my son, the improvisational multi-instrumentalist Solomon Kimrey. I perform upright bass and percussion in response to these scores, while Solomon develops arrangements that extend and reinterpret the material. Drawing and sound are produced together through iteration and response, forming a shared system in which gesture, notation, and improvisation remain in continuous exchange. Procedures may involve fixed intervals, repeated marks aligned to musical timing, or sequences that are extended and altered across the length of the scroll.

The works draw on the structure of musical notation while extending it into a visual and spatial field. Marks function as instructions and records, while also carrying a calligraphic and invocational quality. Calligraphic glyphs establish points of orientation, while sequences of line and density build, disperse, and recombine across the surface. The scroll becomes a site where repetition and variation produce both movement and pause. The scrolls extend the same procedural logic present across fiber, paper, and writing into a durational field of sound and mark. Time is registered through repetition and interval, making duration legible across the length of the scroll.

Ranging from twenty to fifty feet in length, the scrolls require sequential viewing. Their horizontal format distributes attention across distance, preventing a single, fixed reading. They are read through movement, as the viewer follows the accumulation of marks over time.

At the same time, their modest height—typically ten to thirty-six inches—draws the viewer into close proximity with the surface. This scale contrast produces a dual condition: panoramic extension and intimate encounter. The body is required to move with the work, while attention remains focused on the detail of each mark as it develops within the larger field.