Cadence graphite and ink on Rives paper The visual memory finds its

The visual memory finds its way directly onto the paper and undergoes a transformation into a ‘flat’ translation of the memorized image

encaustic and graphite as well as elements of monotype and collage

and clusters of shapes as little paintings in themselves

The ostensible template here refers to the color calibration test of the machinic eye (the camera's eye) in a common tool for this purpose

and also the potential for transcending that conditioning by grasping it in the physical and perhaps less-determined form of paintings on wood panel

Cadence graphite and ink on Rives paper The visual memory finds itsUchiyama works with watercolor on Arches paper. She often develops as many as eight compositions at one time, moving on to the next while the paint dries on the last. To begin each work, she waits to see a hue on the blank surface. Each additional hue builds off of that original vision, building towards a linear horizontal pattern. Each layer possesses unique physical and material properties: some are opaque; others are translucent; some are