>Working from The Elgin Marbles and Artaud’s text entitled ‘A Journey into the Land of the Tarahumara’, Trevor Simmons; in ink, maps forms and terrains upon a entirely effaceable and transparent plastic called milinex. The final image’s structure is a amalgamation of repetitional lines and marks (akin to morse code) that by their very durational and rhythmic nature intuitively instigate a surface to appear, where there is almost none.

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-A-forever-ongoing engagement with the feelings and suggestiveness ascertained from the outcomes of the hand, will- if each mark resounds- cultvate a purer and more direct expression of that,,, only discoverable via precisely the immediate act of mark making.

- A single drawn line, dispite the intention of the person comitted to attempting a perfect straight line, reveals due to the duration, it's beganing and end, a filament of feeling via it's tension. The longer the concentration is stretched upon continuing a line, the more prone it will be to tension, and the temptation to deviate.
Now- the hand attempts to draw a combination of lines, one beside another, with a attempted equal distance between. Thus a surface appears, a plane.
The space between, corresponding to the previous line, now becomes the object of obsession. For the benefit of the surface (disregarding the potential for vanishing points or cylindrical effects ect ect) equal distance must be attempted, for the sake of a equilibrium, for the sake of tension.

After time- lines bend-slight at first- despite our best intention, hypnotically they manipulate us into ravines.

Every line, a filament of a duration, a state of tension, will amalgamate and instigate direction, a case of mapping rather than drawing, a terrain.