Variations on Unconsciousness engages consciously with the tradition of the inkblot — from Rorschach’s diagnostic ambiguity to Kerner’s nineteenth-century Klecksographien — but moves beyond it through scale. At 150 × 500 cm per panel, the body is no longer outside the image looking in; it is surrounded, implicated, brought into an entirely different relation.
Working with ink in larger dimensions, I create conditions in which painting exceeds intention: the material spreads, pools, and branches along the translucent surface, tracing pathways that belong as much to the medium as to the hand. Symmetry emerges from the process itself — the fold, the doubling, the mirror — echoing an organizing principle encoded at every level of nature, from the structure of DNA to the architecture of the body. A form so fundamental it became invisible, until it reappears here as something between found and made.
Each set proposes a different register of the same inquiry. Color operates as somatic signature, the series as a whole as an approach through repetition and difference — because the unconscious, if it can be addressed at all, resists direct representation. Hanging freely in space, semi-transparent, the works refuse the fixed authority of the wall. They connect to a broader question running through my practice across media: not what images depict, but what they construct — and what they ask of the person standing in front of them.
