Principle of Operation

Principle of Operation is a long term drawing project that examines how subjectivity shifts through sensory experience and material repetition. The project approaches perception as something unstable that continuously changes through bodily sensation, time, and surrounding conditions. Repetition functions as a way to follow how small variations gradually unsettle fixed forms and coherent states, allowing ambiguous conditions to emerge through accumulation. Each phase operates through predetermined structures of duration and restriction. Drawings are produced through extended repetition using controlled materials and repeated sequences of actions. As the work continues, subtle changes accumulate within the body and within the drawing surface itself. The project traces how perception reorganizes through these gradual shifts instead of remaining singular or stable. In Iterative Calibration (2026), prolonged graphite application slowly transforms the surface of the paper. As friction decreases, attention becomes increasingly sensitive to small irregularities within the material layer. Actions that initially appear repetitive begin to drift as perception changes through bodily sensation and contact with the surface. In Systematic Suppression (2027), compositional choice is reduced through fixed sequences of mark making and standardized working conditions. Fixed procedures gradually expose the impossibility of exact sameness. Small shifts caused by bodily condition, duration, and environmental change accumulate over time and slowly produce divergence within controlled systems. In Deferred Accumulation (2028), a continuous drawing develops across an 800 × 150 cm paper roll. Only a small section is worked on each day before being immediately concealed. The image remains inaccessible throughout the process, preventing revision through overview or retrospective adjustment. Continuity persists through partial memory and sensory residue carried forward from one section to the next. The participatory exhibition Dialogue Exchange (2029) extends these procedures into exchanges between different sensory conditions. Participants listen to recorded pencil sounds produced during the making of corresponding drawings while wearing noise canceling headphones. While listening, they create responsive drawings of their own. Through this exchange, distinctions between author and participant gradually lose stability as perception moves through translation, response, and repetition. Running parallel to these phases, records of senses_Index functions as an ongoing auxiliary register composed of recurring drawing sessions. Returning to similar conditions across extended periods of time, these works follow how attention and sensory perception slowly drift even when external structures remain relatively constant. The drawings register subtle variability accumulating within repetition itself. As sensory traces accumulate throughout the project, distinctions between self and non self, intention and reaction, singularity and collectivity begin to lose stability. The resulting drawings and installations remain suspended within states of ambiguity, continuing to shift through accumulation, translation, and sensory negotiation without fully stabilizing.

69 works