"The Cross" employs palimpsest, light, and line. The chalky black surface - a mixture of tempera and graphite powder - sits on a reflective silver ground. The field of black oscillates between volume and void. The scores cut through the thin veneer of pigment to reveal flickers of light.
Boustrophedon order begins from left to right and returns from right to left. Examples that illustrate this kind of compositional organization are found in early 6th-century paintings like, "Jacob Wrestling with the Angel," Vienna Genesis, or in ancient Greek manuscripts. I have been experimenting with boustrophedon order in the series, "Interwoven." I want to achieve a syntax in these paintings that disrupts conventional Western ideas around legibility and perception.