Obverse

Lumen & Logic

A modern-folk mural panel struck twice from one design. A single vertical seam cuts the sheet, and it decides not what is drawn but how: everything on one side is painted — opaque masses of flat colour, each one ringed by concentric offset copies of its own silhouette in alternating chalk white and palette colour, so the halo is not ornament but the only thing keeping one black mass legible against the next — and everything on the other side is drawn, as an unfilled keyline of one weight that never varies anywhere in the picture, enclosing nothing but the void. Both sides are furnished from one vocabulary of folk-amulet motifs: an eye with a marked pupil, a two-lobed mouth with whiskers, a palm with splayed digits, an arched shrine, a lidded vessel, a leaf sprout, an hourglass, a bladed ray fan, a bundle of nested arcs and a tapering wedge — laid out once across the whole sheet on a ladder of uneven registers, so a motif family recurs on both sides in two different hands. The marks that straddle the seam are the point: a dashed rule and its arrowhead, or a form whose edge runs past the divide, are painted to one side of it and drawn to the other in the same stroke, which locks the halves into one picture rather than two panels. Interiors are never hatched and never shaded — where an area is filled it is filled with a lattice of small repeated marks, most often plus signs, otherwise dot rows, broken rules or contour-following waves. Every line carries a hand tremor from one shared noise, so nothing is ruled and no two parallels stay parallel. Flat and opaque throughout: no gradient, no blur, no shadow, no transparency, no perspective, and one accent colour admitted to the drawn side and nowhere else.

Medium

Generative algorithm, archival pigment print

Dimensions

60 × 90 cm