matrices, particularly in how one thing flows into the other. How does
this translate into your work?
ET: I’m not entire sure where it came from. It’s been evolving my
entire life. The evolution of this line of questioning is seen in my
drawings and collages. Perhaps the core question is why, as organic,
curved, soft creatures, we think and find a resonance in linear
structures. Why do we live in square rooms rather than round (well, in
many places anyway)? Why is the structure of a monarchy so effective?
What do linear systems of order offer our minds and our souls that
complex curves and paradoxes do not? Our comfort with systems (of
order, of communication) informs our palette of responses: emotional
and rational. This is why a study of systems, structures, and thus
matrices is infinitely intriguing to me.
It was so long ago when I began asking myself these questions. I
suppose the answers have simply moved through their own variations.
They generate a very layered perspective. For some reason, these
thoughts are easier for me to understand if I think of them in
physical shapes – for instance, language in terms of diagrammed forms.
And I find the line of questioning beautiful, because it pushes me to
look for the relationship between all things, the matrix of how it all
fits together. In the end, even the solidity of the rock is not what
it seems” (24)