You get a light behind you when what feels like the worst that can happen to you happens to you. It never goes away. It lives behind you. It’s there whenever you need it. The light shoots through, bright and wide and says: At least I’m not there. Back there when we thought the lights went out forever. At least this is not that.” ― Tommy Orange, Wandering Stars (2024)

"He flings pros into the air like skeet, and one by one he shatters them with cons."— John McPhee (Coming Into the Country) (1977)
“Nothing/ We Shall See,” Theresa Wong, from the album The Unlearning (2010-11)
This drawing was the first of the black cosmological scores drawings made at Jentel, in Wyoming, April-May 2024. The immediate locality is a small floodplain at Big Piney Creek. The topography is bounded by mesas, marked in the drawing by dots. Topologies of conquest, erasure, famine, stolen land, the quiet ranch, the artist enclave, an impossible present, converge to center. The center refuses to stay still. The drawing is made as a site for figuring. Figuring out the incommensurate and the infinitely parsed movements in vision, between this and not that. If I can get past confirmation bias maybe I can get a light. Maybe there’s a light behind us. Maybe we shall see.