Before I knew I was an artist, I was proud to be neuroscientist, memorizing molecular pathways and anatomical structures. Today, I couldn’t pass a quiz on the specifics I studied—but I remember one thing that was true. Above all else, being a scientist taught me the power of contradictions.
Vision, our dominant sense, is particularly full of contradictions. Standing in a field, our two eyes take quick snapshots of the patterns of light in the environment. By some miracle of the brain, these little pieces build one coherent picture. The field looks like a field, not a confusing collection of shadows and angles. We perceive it as whole.
And yet, that whole is just a fraction of reality. There is an unfathomable amount of visual information that we simply can’t take in. Compared to a hawk, we are painfully nearsighted. Compared to a bee, we are basically colorblind. I can’t look to my left and my right at the same time. I can’t inspect a pebble while I gaze at the clouds.
This paradox of vision-- its splendor and fallibility-- is at the heart of my practice as an artist. For me, this contradiction provides a powerful description of not just how I see but also how I know. To know something, like to see something, can feel certain, but it’s never the full picture. Knowledge, like vision, is constructed and limited. Moving from the realm of science, to the realm of the studio, drawing provides a visible way to explore the link between seeing and knowing. Drawing also brings awareness to the contradictions within each act.
Antony Gormley put it this way: “Drawing is not so much a mirror, or a window, as a lens which can be looked at in either direction, either back toward the retina of the mind, or forward toward space. You could perhaps not look so much at drawing as through it.” 
That drawing has these two abilities—to be a lens looking out into the world or back toward the mind-- reveals drawing’s own contradictory power. It’s what makes it well suited to thinking about seeing and knowing.
Drawing is searching, gathering.
Drawing is complicating, generalizing.
It’s abstracting, obscuring, clarifying.
Drawing is a summoning.
It brings to the surface. It calls to mind.
It’s a line going for a walk.
 Antony Gormley, 1979. Quoted by Anna Moszynska, (London: The British Museum Press, 2002), p. 5.
 “A drawing is simply a line going for a walk.” – Paul Klee