On the Rune as a Cut Mark
The runic tradition is the only major mark-making tradition I have engaged with that developed specifically around a tool and a material: the knife and wood. The angular forms of…
Fragments, references, and materials
On the Conception of Glyphoreum
The name arrived before the concept was fully formed, which is usually how it works when a name is right. Glyphoreum — a forum for glyphs, a place where the mark is the subject ra…
On the Unnamed Practitioner
The decision not to name the practitioner is revisited periodically. Not with doubt, but with the discipline of making sure it remains a choice rather than a habit. The reasons ar…
Note 034 — Fragment
Glyphoreum is the largest mark the practice has made so far. A platform of this scope is a form at a new scale — larger than any individual work, more durable than any single sess…
On What Remains
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 e…
On Working Without the Glyph System
There are sessions in which the glyph system does not arrive. The hand moves and the forms that emerge have no name in the established vocabulary, no counterpart in the twelve. Fo…
Note 037 — Fragment
A mark that doesn’t know what it is yet is not a failed mark. It is an early mark. The difference is patience.
On the Ammonite
The ammonite shell — the fossilized cephalopod found in limestone formations from the Jurassic and Cretaceous periods — is the oldest spiral in reach of the hand. Two hundred mill…
On What the Stone Was Already Doing
The dendritic formations on certain limestone and marble surfaces — the dark branching patterns produced by manganese oxide deposits following the fracture lines of the stone — lo…
On Ochre and Iron
Red ochre is iron. The same element that makes blood red — haematite, iron oxide, Fe₂O₃ — is what gives the oldest pigment its color. The iron in the ochre and the iron in the blo…