Today I look out on the mesa and I see lines; roads, and pathways, wildlife trails, lines
of wire strung on fences and telephone poles.  I look up and I see vapor trails,
 white against a clear blue sky.  On rocks, early man has scratched symbols;
 drawing is everywhere.  Drawing is a human activity which does not
 have to be learned; it can be thought of as a global
 visual language.

I kneel down and plunge my finger into warm sand; I pull my finger to myself, leaving a
trace upon the ground.  I am drawing, the earliest and most immediate form of image
making.  I create an authentic expression, closely allied with story telling.  It is
 part of what it means to be human and through drawing I never lose that
sense of wonder.
 
When I am in the act of drawing, I am able to seek, to attract, to convey, to drag, to elicit, to
evoke, to extract, to gather, to haul, to hook, to pick, to pluck, to pull, to tug,
 to wind in, to wrench, to yank, to follow, to explore, and to find the image
 I seek; to find the answer that is honest, pure, uncontaminated, direct,
 anti-monumental, and  one not necessarily described as “art”…
 an answer that expresses the imagination, creativity
  and perhaps skill; a personal narrative.
 An answer that is simple,
with nothing left to add and nothing left to take away.

Drawing has been regarded as simultaneously fundamental and peripheral, essential to
artistic practice and the most basic skill an artist can possess.  Drawing allows
 the artist to dream the endless dream making notes along the way.
 Drawing connects us to infinity and eternity; it is
 a map of time.

With this series of drawings, by limiting the materials to pencil and paper, I am  exploring
the question, “Can color be implied, when working with
 black and white, and shades of grey?”

I continue to work in series, and the images could be seen as pages of a diary or personal
journal, and like poetry, one idea dissolves into another and the series of work
becomes a sequence of new images; like each new day, forever changing.
 Because, the finished work is not preconceived and must be made
 visible before any judgment, I feel anticipation and excitement,
 and because this is my experience, there is the possibility
 the viewer will experience this at some
level and join into the
endless dream.

All is abstract, without perception, washed in black.

Taos-based artist, Annell Livingston creates paintings with a deeply meditative, spiritual quality. Her paintings, like life itself, are basically the same: square paintings (or long rectangular paintings) of small, ordered grids of squares, triangles, and unexpected shapes. The patterns vary little — whether executed in encaustic on board or canvas, acrylic on oriental paper, or gouache on paper. All the while, they quietly reflect the rhythm of the changing light in the artist’s Taos, New Mexico studio.

The works are a visual response to the artist’s reflections on day and night, the sameness, the change and the inevitability of their progressions. They put in mind the works of Agnes Martin, but they obviously are done free-hand, unlike Martin’s penciled-straight edge-perfect stripes, and with the small imperceptible variations from square to square lays a huge difference. Each square, with each visible stroke is a kind of prayer. In her statement the artist quotes the famous Rapist (Trappist) monk Thomas Merton: “If you let the hours of the day saturate you, and you give them time, something would happen…”