Impressions of control are traceable in painting's common visual structures. Parallel lines, grids, and gradations all contain and codify. A gradient suggests unity, but is simultaneously a series of separations, each step a unit distinguishable only by difference. Organizational structures showcase deviation; in a confinement, one rejoices as the norm defects. Order and entropy are wed.
By layering systems of designation, a visual defiance emerges. Overlapping movements create a disorienting intersectionality which undermines the sense of location, hue, scale, orientation. This action removes the certainty with which visual hierarchies are built. All marks are in relation to, tethered to, and enhanced by.