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

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

Synthesis then occurs through two complementary operations: Continuum achieves formal integration, eliminating separation to reveal the figure as indivisible physical whole. Reflections demonstrates psychological integration, where the self emerges through the balance of complementary opposites—dominant and recessive, revealed and concealed.

Yet Reflections reveals more than one mode of synthesis—it establishes the principle underlying all subsequent investigation. The self, understood as integration of complementary opposites, is the essential condition for equilibrium itself. Every configuration that achieves balance does so by embodying this fundamental duality: the capacity to hold opposing forces in sustained relation.

From this recognition, investigation branches into three modes. Asymptote tests the integrated form against external absolutes—temporal impossibility where poses cannot persist yet remain held. Limits addresses internal boundaries, demonstrating how volition expands apparent anatomical capacity. Conditionals proposes an alternative path: what morphologies emerge when integration follows algorithmic rather than biological 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 surface reading.

Ultimately, this rigor serves an aesthetic purpose: to isolate compositionally complete forms where beauty emerges as visible evidence of structural resolution.

These seven series, developed across twenty-five years, document a sustained inquiry: how opposing forces organize into stable form. What begins as geometric analysis concludes not with answers but with 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.