The cyan line here is doing at least three different things at once, and that multiplicity is the subject. A broad, squared head sits upper right, drawn with firm, even pressure along its top edge before the line softens and rounds toward the jaw. From there the body drops into a long sweeping corridor - the hand clearly moved fast across this stretch, the stroke thinning fractionally - before splaying into a low, wide base of undulating folds that slow the eye right down to a near-standstill. Two small interior marks, a dot and a short diagonal, hold the face open. The white within the outline is not empty: it reads as volume, pressed outward by the surrounding cyan weight.
The cyan line here is doing at least three different things at once, and that multiplicity is the subject. A broad, squared head sits upper right, drawn with firm, even pressure along its top edge before the line softens and rounds toward the jaw. From there the body drops into a long sweeping corridor - the hand clearly moved fast across this stretch, the stroke thinning fractionally - before splaying into a low, wide base of undulating folds that slow the eye right down to a near-standstill. Two small interior marks, a dot and a short diagonal, hold the face open. The white within the outline is not empty: it reads as volume, pressed outward by the surrounding cyan weight.
- Curatorial note, wifärt gallery