This practice examines the body as a site where complementary opposites organize into stable equilibrium. The investigation treats the figure as a structural variable capable of systematic configuration, revealing principles of harmony.

Triangles and Horizontals perform analytical separation, isolating fundamental geometric relationships—angular and continuous—that structure the form.

Synthesis then occurs through two complementary operations: Continuum achieves formal integration, dissolving separation to reveal the figure as indivisible wholeness. Reflections demonstrates psychological integration, where selfhood emerges through the balance of complementary opposites—dominant and recessive, revealed and concealed. Through this psychological synthesis, Reflections makes explicit the principle governing all investigation: the self, like all equilibrium, emerges through integration of complementary opposites. Every configuration that achieves balance does so by embodying this fundamental duality: the capacity to hold complementary opposites in sustained relationship.

From this recognition, investigation branches into three modes. Asymptote tests the integrated form against external absolutes—temporal impossibility where positions cannot persist yet remain held. Limits addresses internal boundaries, demonstrating how intention expands apparent physical capacity. Conditionals proposes an alternative path: what forms emerge when integration follows algorithmic rather than organic logic?

The work maintains rigorous formal discipline—controlled lighting, reductive composition, and strategic abstraction. This approach deliberately counters the nude’s conventional associations: while the unclothed figure typically invites narrative projection—psychological, erotic, or personal—the systematic elimination of facial identity, contextual cues, and expressive gesture redirects perception toward structural investigation. The body becomes perceivable not as individual flesh but as architecture—universal form where mass, tension, and spatial relationships achieve resolution. The work invites formal engagement rather than interpretive reading.

Ultimately, this rigor serves an aesthetic purpose: to isolate compositionally complete forms where beauty emerges as visible. evidence of harmony—the integration of physical, psychological, and aesthetic domains.

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These seven series, developed across twenty-five years, document a sustained inquiry: how complementary opposites organize into stable form. What begins as geometric analysis concludes with a demonstrated principle tested across multiple investigative paths—each exploring equilibrium under different conditions. The body emerges not as biological constant but as dynamic principle, capable of formal transformation, psychological integration, and algorithmic reimagining.