These works are inkjet-extruded lozenge forms, suspended in a way that recalls the compressed structure of trilobite fossils or the stripped skin of a reptile. Without flesh, they hang—taut, like stretched hide. As the viewer steps closer, the individual elements composing these forms come into focus. They originate from the artist’s *Red and Blue Notebooks*, compiled over the span of a year. These notebooks are filled with traces of what a life immersed in creative flow might look like—rapid sketches, notes, and unrealized projects.

The symmetrical forms, with their central spines, emerged from animations constructed through random generators. These tools selected elements from the *Red and Blue Notebooks* archive and assembled them into new, fluid sequences. The notebooks—physical records of time, thought, and process—become the foundation for forms greater than the sum of their parts.

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Compressed into the surface of the paper, these prints translate time, thought, and memory into a flattened form. This compression echoes the notebooks' slow, daily accumulation of sketches, now transformed into something continuous and fluid.

 

The work also touches on the tension between randomness and intention, and how form and meaning evolve through time. Using algorithms to break free from subjective experience, the process inevitably circles back to questions of structure and authenticity. In the end, these prints encapsulate the layered processes of creation, blending randomness, time, and deliberate action into a single visual form.