Journal

I am no longer interested in showing process. What matters is whether the work holds without me nearby. These fragments remain because they survived editing. Everything else was removed. What you see is not accumulation. It is what stayed.

Explanation arrives too quickly. Interpretation is usually defensive. This work resists both by offering structure without instruction. If meaning occurs, it is a side effect. The primary action is spatial and bodily, not linguistic.

The human form appears here only as residue. It is not represented. It is trapped inside a system of lines that both reveal and contain it. This was not an image about disappearance, but about compression. When pressure increases, form reorganizes.

I became interested in how little movement was required to transmit intensity. Gesture was reduced until it either carried signal or collapsed into noise. Anything decorative was removed. What remained was not expression but transmission.

An audience does not need to be present to act. Pressure is enough. The body responds to an implied gaze as reliably as to a real one. This piece was constructed around that fact. Nothing here asks to be watched. It assumes it is already being seen.

The podium introduced a vertical fact into the room. Height reorganized listening. I did not perform emotion. I occupied a function. Speech became secondary to posture. The work ended when the space stabilized around the body.

I stopped moving to see what would happen if I stayed put. The body did not relax. It organized. Attention gathered around stillness as if it were an event. What I learned was simple: movement is cheap, but standing costs something. The work began there.