What is the line between the ground below and the surrounding atmosphere? Is this the space between knowing and not knowing? This work considers the anterior and posterior moments of a defining life and death experience, relaying a shift from investigating external to internal landscapes.
Evenly spaced lines create a call and response: each line mimics the undulations of the line laid prior, forming a predictable language. The narrow gaps between lines demonstrate both the fallibility of the maker and a prescriptive, banal structure. The lines are measured, meticulous, and waver with subtle variation. These lines are dictated by the eye, the wrist, and the body in an externalized space.
Erratic, undulating lines track the call of the body in response to a breakdown of function. A mass of data bare inconsistencies. Yet, shown as a set, the specificity of the lines become lost to an averaging effect. The details are buried in the stack as the lines grow repetitious and irrelevant. These lines, as infinitesimal spaces, punctuate and perforate alternate realities.
Through water, pigment is released, defining new openings within the space of each composition. These marks are a record of evaporation, pausing a moment in time through the distribution of color; when the water dries, the movement of color halts. The geologic forms of the Sahara evoke a similar record: prehistoric seas, microorganisms, and lightning are represented through sand and fossils - fragments of life that once moved these grounds. These fragments of millennia gone by bring an awareness of the past and future into the present. Utilizing the elements of color, water and paper, this body of work explores cycles in the landforms of Egypt and the human landscape of Cairo, investigating the evolving and revolving nature of time and our location within this spatial sequence.