WITHIN THE DISCRETE ACT OF MAKING ONE DRAWING, A SECOND DRAWING IS DISCARDED; IT'S THE SHADOW, THE NEGATIVE. IT'S THE DRAWING THAT EXISTS IN THE Z AXIS, JUST ABOVE THE PAGE AS THE PEN IS LIFTED AND MOVED INTO POSITION FOR THE NEXT MARK.

I HAVE CREATED A TOOL TO RECAPTURE THIS LOST IMAGE. BOTH DRAWINGS ARE MADE: THE INTENDED AND ITS SCAFFOLDING.

A LINKAGE OF PARALLELOGRAMS ALLOWS THE TWO PENS TO FOLLOW THE SAME MOVEMENTS. A PIVOT AT THE FRONT ALLOWS FOR THE TWO PENS TO ALTERNATE MAKING CONTACT WITH THE PAPER.

THE SUBJECT OF THE DRAWINGS ITERATE ON A THEME: A HAND CONFORMING TO THE SHAPE OF AN OBJECT. THE OBJECT ISN'T SHOWN, ITS ONLY DEPICTION IS THE DISPLACEMENT RENDERED UPON THE HAND.

DRAWING IS A SERIES OF DECISIONS AND INTENTIONS. LINES ARE MADE AND LINES ARE AVOIDED. THIS SCAFFOLDING TO THE DRAWING NOT ONLY INFORMS AN UNDERSTANDING OF THE IMAGE REPRESENTED, BUT IN A UNIQUE WAY, IT REVEALS SOMETHING OF THE ARTIST AND THE PROCESS OF ITS OWN CREATION.

IT'S THE HONEST DRAWING. IT DOESN'T PURPORT TO REPRESENT. IT ISN'T FUSSED OVER. IT IS NOT CONTROLLED NOR SCRUTINIZED. IT'S THE ABSENCE OF CONTROL, THE ABSENCE OF ARTIFICIALITY. AS FOCUS IS EVER DIVERTED TO THE NEXT LINE TO BE MADE, PREOCCUPIED WITH SATISFYING SOME AESTHETIC GOAL, A DRAWING IS MADE FREE OF CONSCIOUS INFLUENCE, WHILE NOT BEING AIMLESS. IT'S TIED INEXTRICABLY TO THE INTENTIONAL DRAWING.

SOME FRACTION OF THE DRAWING IS AUTHORED AHEAD OF TIME BY WAY OF THE MECHANISM'S DESIGN. THE PHSYICAL MECHANISM IMPOSES A CAUSAL RELATIONSHIP BETWEEN THE TWO DRAWINGS. THEY MANIFEST AS BOUNDARIES AND SHARED POINTS THAT CONNECT THE NEGATIVE DRAWING WITH ITS POSITIVE. EACH INSTANT OF TRANSITION IS A POINT OF CONNECTION, A BRIDGE BETWEEN THE TWO. AN IMPRESSION OF FORM EMERGES THROUGH SWARMING CHAOS AND THE SIMPLE TRUTH OF THESE TWO RULES.