My visual work has always had to do with the alphabet. It’s an amazing thing that we humans evolved these signs that are not only visual things but that also communicate language. When it comes to fine art, which I rarely practice anymore, my interest has to do with expression and the region of the barely legible. When you cannot quite read something, it still communicates so much feeling in how it is written. Then sometimes you suddenly can read it and the verbal information interacts with those feelings. That is a magical moment you don’t get with legible calligraphy or typography. I have experimented with these concepts in all sorts of ways: sometimes I write very legibly but in a size too small to see. I also have worked with calligraphy that is very formal interacting with the very informal; that juxtaposition creates interesting tensions. But, unlike Laurie, I don’t have an insatiable need or internal drive to make for the sake of making, or to do fine art. I have discovered I need an audience. I’m interested in the ideas which the thing exemplifies. Maybe that’s why in recent years I have spent less time making things and more time writing about them. It’s depressing when stacks of things pile up in your studio – what do you do with all this stuff?! I can store all my essays on a thumb drive.