The 10th E State drawings exist in a space between revelation and erasure, where gestural abstraction becomes a means of capturing the unseen forces shaping contemporary existence. These works are not just studies of figures or environments but investigations into distortion itself—where the act of drawing mirrors the fragmentation of reality under systems of control. Forms flicker between presence and absence, lines collapse into smears, and textures evoke both forensic evidence and administrative redactions. The urgency in mark-making suggests something both archival and unstable, as if these images were extracted from a document in the process of being erased. There is a refusal to resolve into clarity, an insistence on ambiguity that makes the 10th E State an ongoing record of power, surveillance, and the spaces in between.
