The presence of drawing in Mendez’ work centres around, firstly, the opportunistic entrapment of floating words and phrases onto paper, that exist individually as statements or coagulate to form prose, and secondly, the exploration of thoughts and ideas that may be expressed in a manner liminal to both words and images. In the former, Mendez’ biographical writings form the basis of a ‘word bin’ from which various phrases and scenes are extracted and spliced together, adapting William Burroughs’ ‘cut-up’ technique, and in the latter, statements are reduced to lines on a grid, that question how beauty translates across art forms.
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