Uninterrupted

Since adolescence, I have filled notebooks and walls with intricate forms made from a single continuous line. Uninterrupted returns to this private visual language and subjects it to deliberate artistic inquiry. What began as instinctive drawing is now becoming a method for examining attention, emotion, control, and the act of continuing.

Each painting begins with a single rule: the line must remain continuous until the image is complete. It loops, doubles back, compresses, expands, and changes direction in response to the space it has already occupied. The finished form emerges through a balance of intention and discovery rather than from a predetermined image.

Each work is titled after the emotion, event, or condition present during its making. The title does not dictate what the viewer should see. It identifies the state through which the line moved. In this sense, each painting functions as a non-figurative self-portrait, recording attention, pressure, rhythm, hesitation, and choice rather than physical appearance.

The series brings together two models of interpretation. The Rorschach test asks what we project onto an ambiguous image. The traveling salesman problem asks how a continuous route might move through every necessary point. Between them, the line becomes both a psychological form and a record of navigation.

The question I am asking the viewer is: What can a continuous line preserve about the person who made it, and what might it reveal about you as you follow it?