Red Drawings and White Cut-Outs

The Red Mirror, 2011
Pastel on paper mounted on canvas, 136 x 256 in.

Many Worlds Interpretation (Suicide Drawing), 1995
Pastel and charcoal on paper, 108 x 52 in.

Two Women, 2010
Pastel on paper, 90 x 52.5 in.

Red Touch 2, 2000
Oil pastel with lasqoux fixative, 45 x 60 in.

Red Hand, 2011
Pastel, graphite and tape on paper, 52 x 24 in.

Red Chandelier, 2011
Pastel, tape and printed text on paper, 53.875 x 36.125 in.

Red the color of blood and passion, is loaded with associations. “Acid” red seems an apt descriptor of the keyed-up hue Drake has chosen for these works, and it runs in contrast to the historical medium of red chalk, whose rich and subtle tonalities and textures contributed to some of the most sublime drawings ever made (especially during the Renaissance and just after: one thinks, in particular, of Michelangelo and Pontormo). Drake is aware of the historic richness of red as a drawing color, but pushes it to further extremes. The non-naturalistic color also creates a degree of distance, removal, and abstraction, no matter how realistic the subject matter.

–Carter Foster, “Red Drawings and White Cut-Outs”

Bird and Banquet, 2009
Graphite, tape on hand-cut paper, 70 x 96 in.

White Lizard, 2008
Graphite, tape on hand-cut paper, 96 x 70 in.

Marking Time, 2010
Graphite, charcoal, ink and tape on hand-cut paper, 90 x 60 in.

Spoiled, 2010
Graphite, tape, hand-cut paper, 58 x 40 in.

Artificial Life in the Valley of the World, 2009
Graphite, tape, hand-cut paper, 91.5 x 43.5 in.

Sinking Mirror, 2010
Graphite, tape, hand-cut paper 58 x 42 in., Denver Art Museum

The nature of perception and the viewer’s ability to interpret a material into an image becomes the actual subject in Drake’s cut white drawings.  Our eye moves across these works in a way unique to them, their interplay of surfaces, and their large scale.  Drake takes on the concept of surface, integral to the problem of an image and how it functions, by literally cutting into it, creating a mesh of holes of looping, curving shapes of various sizes, often elongated and tapering.[…]. In this way, Drake “draws” not only with the cut line but with shadow and light.

–Carter Foster, “Red Drawings and White Cut-Outs”


Red Drawings & White Cut-Outs</p>
<p>Moody Gallery<br />
September 8 - October 6, 2012

Red Drawings & White Cut-Outs

Moody Gallery, Houston, TX
September 8 – October 6, 2012

Red Drawings & White Cut-Outs - Arthur Roger Gallery<br />
October 1 – 29, 2011

Red Drawings & White Cut-Outs

Arthur Roger Gallery, New Orleans, LA
October 1 – 29, 2011