Where the collision sits

This sketch is the starting point, not the solution.

Before thinking about an image, I needed to understand where the collision actually sits.

Not stylistically, but emotionally and spatially.

Tara’s work often moves through inner landscapes and memory.

Mine comes from the body, from proximity, touch, and intimacy.

I started asking how those two things might exist in the same space without forcing them to blend.

This drawing is me working that out.

A figure grounded in one place.

Other parts existing elsewhere.

Arrows testing movement, distance, reach.

Nothing resolved yet.

I deliberately leaned into a low fidelity way of thinking, almost pre-digital, pencil, shapes, repetition.

There’s something about late 90s visual language that feels relevant here, diagrammatic, bodily, slightly awkward, like sensation being mapped rather than illustrated.

This isn’t about making something look right.

It’s about understanding what’s happening before deciding how to show it.

The finished image only works because this thinking happened first.