The practice now spans: intimate works on stone paper and vellum; a developed glyph vocabulary with historical roots in the Paleolithic sign tradition; a series of philosophical essays that have slowly revealed a two-dimensional framework for understanding mark-making across scale and time; a platform designed to hold these things in relation to each other without collapsing them into a single genre; and a growing awareness of the scales — architectural, landscape, cosmic — toward which the same impulse tends when given sufficient space and time.
This is more than was intended when it started. It is also less than what it is becoming. Both of these feel correct.
The stone remembers.
The line remains.
Begin again.