Balance

This piece took longer than any other. Drawn on A2 — four times the size of the usual format — every centimetre filled with intention. Metatron's Cube at the centre, the geometric blueprint said to contain every shape that exists in the universe. The Flower of Life on both sides, ancient and symmetrical. A Yin Yang as the Earth itself, nature on one side, civilisation on the other — the same duality that runs through all the work, here made literal and cosmic. A red vine borders everything, alive and growing, refusing to let the cosmos float away untethered.

But the detail that anchors everything is the pair of eyes. They sit at the centre of Metatron's Cube, behind the geometry, inside the cosmos — and they look directly at you. Not the meditating figure above, who has transcended the looking. Not the earth below, which doesn't look at anything. The eyes. Calm, awake, present. They are the consciousness inside the system. The observer that all these symbols ultimately point toward. You came to look at the art. The art was already looking at you.