At first encounter, these drawings appear anchored in stillness—portraits, village scenes, figures suspended in charcoal. Yet as the eye lingers, the surface begins to tremble. Lines overlap and fracture, slipping into and out of focus. Shapes form, dissolve, and reform, shaded through the full spectrum of charcoal grays. Where edges intersect, they become porous—transparent for a breath, then suddenly insistent again. The drawing does not sit on the page; it vibrates, animating silence itself.
 
This is the language of Line Value Shape = Motionless Movement. Instead of relying on perspective to establish depth, or on overt gesture to suggest action, these works find their movement in rhythm and layering. Line, value, and shape combine not to fix a subject but to set it in perpetual flux—alive within its own stillness.
 
Consider Spirits and Ancestors: the overlapping lines create currents of energy that pull figures into view, then release them back into the surface. The result is not a static group portrait but a gathering that seems to hover between material and spiritual planes. Presence is felt most strongly at the edges, where figures flicker, half-formed and half-remembered. READ THE FULL ESSAY IN MY BLOG