After working through adding colour into my work with the Meditations II and Meditations III drawings, the work settled into a balance of colour and line in Meditations IV. This work seeks a balance between structured line, organic colour, and even texture. It has evolved into combining additional materials like gold flake and can often be overtly asymmetrical.
As is true of all drawings in the Meditations series:
Each drawing tricks you into thinking it is perfectly symmetrical when in fact it’s quite the opposite. I like the human and imperfect nature of each drawing that is revealed as you study them closer, and the contrasting immediate assumption that they are highly precise, architectural creations. For me this seemingly irreconcilable truth about the forms echo a similar truth about the intersection between humans and the divine: we are all one. Each person is an imperfect/perfect, lonely/infinitely combined, simple/complex (etc) reflection of the one energy of the universe.