Crease


A collection of ten mixed media prints with accompanying written works.
2025–2026









I: ORIGINS

You can no longer ask your grandmother, grandfather, or your great-grandmother for wisdom. They cannot tell you about life, feelings, and sounds now forgotten. However, you can ask their home.

Before it all began, there was this room, existing somewhere in the early moments, before the silver light of pre-dawn crept in. Light not coming from the sky, but from somewhere else. You haven’t yet worked out if this room is real or not, but you’ve returned to it so many times in your mind that its features are familiar; they’ve settled into you. There’s a flat table, a screen in the corner, just out of frame, and there’s a slight hum verging on a rumble you no longer notice. It all feels lived-in, known, warm.

This space is where the answers live. Sure, not marked, but certainly felt. Tracing a timeline that hasn’t fully been drawn. There’s no set path, but there is discernible progression. Or maybe layering. Either way, you can see it. You think of the weight of your hand on the table. Sometimes you imagine another presence. There’s no face, but the marks left on the table suggest a second hand, gently within yours.

This isn’t a starting point, but a recurrence. Leaving you remembering a different room, a different city, the hallway of a childhood home. You can recall how the evening sun would cast itself across the floor. How the carpet felt soft underfoot. You remember making your way down the hallway, circling back, never reaching the end. By now, the light has shifted, and the room has changed, but the hallway on the other side of the door remains. It no longer sits within a building, but in the softest part of you. Across that quiet space between people who never needed full sentences. It leaves you wondering if memory works backwards. Were the earliest parts of you made of moments, or sensations you learned to name later?

There’s still no discernible figure here, but there’s most certainly a presence. It’s not just of someone else, but of yourself – as you were, as you are now, and as you will be. It slowly emerged through fog resting above the river flats, or the morning light passing through the trees.

As the ambient light fades, that screen in the corner brightens. The light reveals a line beginning to form, and the gestures and marks on the table appear to you, this time more pronounced – quiet, weightless, imperfect. It leads you to feel something you don’t need to describe. You can’t, anyhow. You remain there and allow it to hold you.






II: SCARS

You run your fingers across it without thought – a thread etched into your skin. Not tender, nor proud, just simply there. Kind of like it’s always been, or maybe not. You remember how this one came about; others, not as much. A fall from a bike, catching yourself on a wire fence, sex interrupting healing, a time when maybe more treatment and care should have been called upon. Whatever the cause, small, permanent evidence remains. You press against them sometimes to feel if they still respond. They don't. They stay – and through that they speak.

Since you could remember, you’d been told it was all about forgetting the pain, or at the very least sealing it off. Let it dry, crust over, become hard, fade away. But you’ve learned that healing doesn’t always mean vanishing. Sometimes it means making room for the mark, allowing it to move forward into the light. Sometimes the wound itself is not the problem, but the story surrounding it – what gets rethreaded, what gets buried, what boils over, or what is exposed only when you move a certain way, and the skin pulls taut.

You think of the way you’ve been taught to stand – with shoulders back, arms loose, face slack and unreadable. But you always felt most like yourself in moments of tension. A caught break, a nervous laugh, your hand gripping the pen too tightly. For you, it never arrived as a certainty. Instead, as a breach, this somehow made it feel all the more real. You didn’t become through a grand arrival, but by circling, through noticing what didn’t fit, and deciding to carry it anyway.

It’s there again – tracing along the most tender parts of your body. Across the corners of your joints, curving with your body like a signature. Not in a violent way, just something that is there, presenting itself as a symbol of what happens when softness resists disappearance. Run your hand over them again, and you’ll feel the grain. You picture someone else doing the same, not to ask what happened, just to recognise that something did.

Through the window, light breaks against the shape of something vast. A mountain, a tree older than your ancestors, your broadening shoulders. You remember the dull crack. The cold, hard ground. Saying to yourself, “Is this it?” You remember lying on manicured turf, your body stretched and chest alive, and the night sky lit up with your exhaled breath. In the silence of that moment, it felt like a quiet conversation between you, your body, and through your stubbornness, what you refuse to sacrifice and surrender. In acknowledgement of how far it’s brought you, in quiet resistance.

Look back at your reflection. Again, you notice the line, the bump, the scar. Not as flaws, not as badges. Just as reminders that you’ve felt deeply, and you’ve survived it. You press into it again and let the next moment, the next sensation come.






III: IN-BETWEEN

The moment that follows leaving isn’t exactly filled with silence, applause, or trumpets. Instead, it’s more the hush of something withdrawn, paused mid-sentence. Like that fraction of a moment as you wait in suspension for the camera shutter to close.

Each morning, the light arrives distinctively; longer, slower, thinner at the edges. Still to your right, but dappled in an entirely different way. It catches the dust in a new language, giving shape to an unfamiliar space. Within this new rhythm, you move with care, walking more softly, listening more intently, and speaking less. None of this comes out of fear, but out of reverence and respect for that space you occupy in between.

You catch your reflection as you pass. Not clearly, but just enough to recall a shape. It appears there too – half-evident in the glass. Pause. Look. Copper has been replaced with silver. Yet it’s something that suggests a before.

It’s not exactly longing. It’s more reaching. Laughter coming from the kitchen, the texture of a friend's jacket brushing you, the warmth left in a seat just vacated. You carry these as one might carry scent, as something intangible, persistent, utterly transporting. None of these anchors or grounds you; instead, they flicker and burn slowly.

You write emails, you lace your boots. You buy fruit from someone whose voice you haven’t memorised yet. The changing of the seasons smells different this time around. All the while, it’s still there, resting somewhere between belonging and meaning. Not imposing, not interrupting, but nonetheless, you notice it. It’s stitched into the soft fabric of each day.

The frame doesn’t fit as it used to, but you’re learning to exist within it. To stretch without breaking, without hurting. To recognise that the view out the window is also the view inwards. That distance is not always lost; sometimes it's just taking what is known and simply rearranging it.

It is in that soft rearrangement that something settles within you. It’s not certainty, just a little more clarity, existing as a thin thread that glints as it crosses the light of the morning sun.






IV: CLARITY

You can tell yourself the line ahead is straight and narrow. From where you stand, however, everything is a little bent. Edges curl, things warp a little. Filled with uncertainty, your legs sometimes shaking, you still try to follow that line.

Days are getting longer and noticeably more layered now. Some clean, others cave in on you without warning. Leaving marks in places you didn’t think were exposed. Then there are the days that vanish entirely – hiding between one moment and the next, almost as if someone stuffed them in a hidden pocket for safekeeping.

Move through it all with the composure you’ve been told is strange. Not detached, not fully inside it either. More like walking through a room where everything is in slow motion. Feel the shifts against your body, movements behind your shoulders, every single little sound. You’ve ridden this wave plenty of times before.

There is something steadying about not yet knowing. It’s like a fragile stillness, like watching a landscape you haven’t reached from a distance you can’t immediately bridge. You don’t see the details – only silhouettes, soft gradients, ideas of where light might land if it were only given the chance.

Sometimes that’s enough. Other times, the horizon sharpens suddenly, and you feel something close. Almost as if a future you haven’t earned is standing just behind a door left slightly ajar. The brightness behind it feels intentional and inviting. But then there are moments when it disappears again, dispersing into the atmosphere. No trace, no mark, only the faint reminder that something was there a moment or two ago, but not anymore. The mind learns to live with this constant disappearing act. The heart doesn’t. So you keep walking anyway. Quietly and deliberately. Gathering small pieces: a half-memory, a moment you’re not sure happened the way you remember. Not to come to an answer, but to understand the wanting that remains after the moment passes.

Clarity, you realise, is not the clean line people imagine it to be. More often than not, it’s a series. Sometimes it leads you to feel close to something like resolve. A softness in your chest, a quiet not settling your stomach. Both feelings follow their own path, defying orders. There’s no choice but to live with them.

Truth is, you’re not waiting for the future to reveal itself. Instead, you are learning to see the present without the need to make it final. Continue moving gently, steadily. Bring together all those scattered lines. Smooth them out without forcing it. Again, not to find the answer, but to recognise the horizon when it alights once more.

It’s not there as something certain, or as closure, but as a reminder that even something unfinished has its own type of clarity. You just have to let it be.







V: GATHER

There are moments when you feel scattered in a way that cannot be blamed on anything other than quiet honesty, and of becoming. Think about these pieces not as debris, but rather small, persistent truths that refuse to disperse.

Think of a note in front of you. Scrunched and torn. Edges rough, with a message written, too raw to be held. There’s a regret that arrives afterwards. Even when it’s been flattened out again, the creases and folds remain.

Imagine trying to realign it all. Not to restore the message, but to understand why you even scrunched and tore it in the first place. That’s where you begin – with the admission it wasn’t an accident.

Some of those pieces return on their own, resting in a recognisable place. Others, however, require something more deliberate, like picking up what was once dropped or set down because it felt too heavy. Too bright, or too exposing. These pieces are in disarray.

But this isn’t about completion. Instead, it’s about feeling each individual part and letting it connect to the next. Recognising that the pieces were never fully separate, only resting at a safe distance until you were ready. There’s something in that – a kind of interior tension that exists between wanting and withholding. Steadfastly. It’s fear, and the instinct to move closer. To touch the stove, expose yourself, just to see how it feels. It’s a bracing in your throat, a lift in your chest like you’re about to pick up your pace to run. Your body always knows before the mind cares to admit.

Don’t recentre yourself for the sake of coherence, but for truth. Step forward with surety and complete openness. Old skin and defences shed, no more shrinking. The pieces now gathered carry the weight of what was no longer needed, instead of what you wanted. They point towards something that is neither a person nor a destination, but a place that feels certain.

Gather. Rally towards recognition. The kind that starts from within and extends outwards like the first kiss of the morning sun, tracing the outlines of the day without demanding a single thing in return. Gather. Build towards desire. Not the explosive kind, that’s never been you. The steady. The kind that deepens rather than burns. Gather. Shift toward the possibility of the open page, the crease that guides your fold, the signal that there is surely more to come.

It’s not complete. Nothing needs to be, nor will it ever be. However, for now, the pieces are together again; that is enough.






VI: HOLDING

There’s a kind of holding that doesn’t present itself as possession, or even protection. Something quiet and almost accidental. This moment where you realise your hand has habitually shaped itself around something that isn’t there anymore, only your memory and your reflexes haven’t caught up.

Notice how much you hold without meaning to. That flicker of sun in the morning, the echo of a laugh in your mind, a familiar scent that opens up something in your chest. It all happens before you have a chance to prepare for the moment. Once it’s there, you feel its weight. Light, but still weighty, sitting in the heart of you.

Sometimes, try loosening your grasp. Imagine your fingers opening. Letting whatever it is you’ve been holding simply drift, drop, or slip away. Truth is, some things don’t fall cleanly. You know this. Instead, they trickle or leave a mark behind – a small reminder of where they once lived. Outlasting the thing itself.

You start noticing these everywhere. Like a kind of warmth you didn’t know could exist. A thought you didn’t know you’d folded too tightly until it came time to try smooth it out. Not frightening, not unwelcome. It sits in the back of your mind while you decide which direction to take. There’s longing and anticipation sharing the same space, but you can’t tell which one is more comfortable being there. Which one are you more comfortable having there?

There’s a shadow you see when the afternoon light hits the window just right. There are two key outlines – one is yourself. The other is unknown. Maybe it’s the person you have been. Bracing, uncertain, trying to hold what wants to move. The other outline is still taking shape, but for a brief moment in the early evening, before the light disappears, the two overlap and almost touch. And then the light shifts one last time, and they are separated once more.

You’ve been learning that holding is not a matter of strength. Instead, it’s a matter of recognising what is slipping because it needs to. A hard lesson to learn. What is warm because it has shaped you. Some days, you feel everything sliding through your fingers. The imagined future, the familiarity, the connective tissue between two points. On other days, you feel this slow reassembling of yourself as something new. Both are true, and both are happening at once.

Maybe holding isn’t about keeping anything at all.

Maybe instead, it’s simply being honest about what has touched you. What left its mark. And what continues to course through you even as you learn to open your hand.








VII: TRACED

You’ve learned that what pulls you back is never the whole picture, just the faintest suggestion of it. The way a memory would course through you, echoing if you let yourself hover on it for long enough. A quiet rehearsal, a softness and willingness to follow something that felt familiar, even if the shape of it had changed.

These are the moments you return to without meaning to. Like your thumb circling the edge of a page, the warmth where skin has recently been touched, the movement of someone applying lipstick with such focus. It all becomes its own form of intimacy. These are the details sitting beneath the surface, imprinted, refusing to fade. You find yourself tracing them, defying their own fragility.

When you trace them, you’re not trying to recreate anything. Instead, you’re trying to understand why the memory is still there. Why it still ~gently~ hums.

Sometimes your understanding is clear, bright, and impossibly close. You can make out all the little details. Or – it appears in the chaos, interrupting the moment with a half-formed thought or a feeling that never had the required words. Almost as if you’re touching something that was once so close, now completely unreachable.

Even then, you keep returning. Of course you do. Not because you expect everything to align perfectly, but because following it is steadying. However, now there is a misalignment. A wandering hand, a gaze directed to the floor, a moment’s hesitation where certainty used to sit. Distance has stretched it thin, and the edges are now blurred. Even as it shifts, you know its origin, you remember where it began, and you recognise the part of yourself that still wants to meet where it used to be.

This is where you find yourself asking: Maybe tracing is less about repetition. Less about form. Maybe it’s more about acknowledging that something within you circles back because it still feels known. Because it still fits, even if it’s not perfect. It’s like there’s a fork in the road. Turning left takes you towards what was. Turning right, towards what may never be.

Your hand keeps choosing the path that returns you to the original shape, that first moment the light came on inside you. Your hand holds steady even when your mind inevitably wavers. You realise that tracing is not meant to fix anything or force anything, even. Only to reveal what remains.

Right now, your heart and mind have their own blueprints. Both keep circling back, familiar with the texture by touch, following the faintest indentations to see if the shape has changed. Or if you have.







VIII: RING

There are these moments where it doesn’t come as a spark, but a fully fledged return. It slowly rises through the chest, a sense of something in the palm of your hands. Something remembered – it’s not discovered. It’s the body realising it has circled back to a warm place, a place it hasn’t forgotten.

Some moments like this settle deeper than others. Like the brief weight of a wrist resting in your hands – nerves lighting up at the point of touch, how that stayed long after contact ceased. You didn’t have to cling to it; it stayed there regardless – in the same way heat lingers on stone well after the sun has set. It’s your body reminding itself in simple recognition that it once held something delicate, charged, completely, utterly alive.

There isn’t just a circle, but also the space it leaves behind when it’s lifted. The pale indent that remains in its softness, warmth, and stubbornness. Something etched even in the absence. You imagine the same kind of weight for yourself, where something could rest. Permanence even in the moments of removal.

Some are constructed from thought, but this one is far more real. There are contours, guiding lines, and motion. All of it leaves you quietly but completely entranced. These memories will arrive without warning – electrifying and exact, as if, without permission, your body were tracing them along the inside of your ribs.

Tell yourself this is normal. Everyone runs circles in private anyway. Their own figure-eight of want and release. The truth is, some feel inevitable. Tightening, widening, tightening some more. Kind of like breathing. Or like a hand learning the contours of another for the first time, over and over and over.

When you think of the loop as a whole, a single image forms: the Ouroboros. A creature consuming its own tail. Not out of hunger, but in devotion. Born from its own desire to continue existing. Refusing to stop, even when the entire world tries to straighten it.

Maybe this is what it really is. A body remembering itself through touch, a beat repeating its own note, a circle not drawn but still there, even in those moments of absence. Like some kind of completion – not as an ending, but as a willingness to circle back, even while you wish the loop might stretch just a little further.






IX: EDGES & QUIET

A quiet exists without emptiness. You know it well. It gathers at the edges of things. You’ve been finding it in the corners of a room, the margins of a page, those moments between one early morning breath and the next, now that you can see them. It’s less like silence, more like a boundary that finally recognises itself.

You used to think these edges were sharp, that they were confines keeping you safe. As if stepping beyond them meant losing something – momentum, connection, the potential of being seen. Lately, that feels quite different. It doesn’t cut, doesn’t hurt; instead, it holds. Steadies you. Doesn’t push back, even though sometimes you wish it would.

There are moments in songs you’ve listened to lately, where everything just pauses and suspends. The guitars pull tight, a note is held, nothing happens until everything does, all at once. That’s what this quiet space feels like: tension without conflict, and waiting – but for what? Not somebody else. You’re holding your breath for you.

Pause and notice what it all tells you. A thought that keeps returning. The quiet becomes a screen – memories, a voice, something once close, all resting within a liminal space.

The edges are honest places. Showing you what you’ve been leaning on without noticing. You’ve been rewarded when they show you what leans back. Sometimes nothing does, which is in itself an answer, even if a soft one. Even if it’s the one you don’t want.

Quiet has been teaching you the same thing. Stillness isn’t absence. Being met with silence doesn’t erase what was real. Boundaries aren’t walls, only shapes.

You realise there comes a point where longing stops reaching outward and eventually returns inwards, like the tide changing without announcement. Just the natural pull of something returning to its centre, recalibrating and reassembling.

Right now, the edge you stand at is like the line where a shadow meets the light. Ever-changing, yet consistent. You are steadied by the contrast. Settle your breath, loosen the grip you didn’t know you kept, and the sense that, although nothing has been decided, everything has. And something has already changed.

For the moment, though, that’s enough.






X: CALL

You can each out before your arm even moves. Before fingers press. Lean with intention, shift outward. Let a signal leave your body before you even know what it’s asking for.

It’s after midnight. The city glows in the dark – rare for here. Trams flicker past, shutters click closed, shop front neons pulse in slow arcs. It feels like a transmission – a city built from layered signals, nothing ever fully still, nothing ever completely silent.

You feel this faint vibration of possibility. Where, even before your mouth is opened to speak, something is already moving outwards. A steady building, like the early second, or that pause before the drop, the push of sound that tells you to go on, send it, move. So, you do, with a small reach. Across a distance. The reply? Almost instant – unguarded, warm, familiar. Your breathing is rearranged. Not in a startling way; it lands exactly where you knew it would, but it still leaves you surprised. For a moment, distance folds in on itself. You can remember the heat, the feeling on the sides of your ribs. It’s surprising how something brief can still carry such weight.

Later, in the morning, the light appears differently. The streets are busy with the morning rush, but it all still feels muted, less certain. Still, with morning light resting on your shoulders, you reach a second time. Gentle and unforced. Stepping forward, even as you stumble.

There’s a feeling that is less like asking. Definitely not demanding. Instead, more of a simple turn towards the familiar and the wanted. Nothing comes back. Not yet, maybe not at all. You’ll see. In this context, silence has this weird texture. Not that it’s cold or final, just an emphasis on space. Like the time spent between finishing your inhale and letting your chest release. Listen anyway, not for another’s voice, but for your own. Remind yourself that sending something out is its own form of grounding.

The city continues to build. Doors open, others close. One metro station smells, sounds, and feels different from the next. All the while, some signals return, others don’t. Most of them float somewhere in the middle, hovering and waiting for the right receiver or the right moment.

Maybe that’s what the call is actually about. Not the answered voice, or missed reply, but rather a moment of extension. The decision to lean towards, even without promise. Like a new beginning, not a guarantee.

Pause and breathe into the morning quiet. A tram bell rings, a shadow crosses the wall, and both hands sit comfortably in your pockets. The signal you sent is still out there. In a way, so are you.




CREASE is a self-initiated body of work created over the span of ten months – comprising ten mixed-media prints, each paired with a corresponding essay. Developed in parallel, the visual and written components respond to the same moments, and are intended to be read side-by-side.

The project explores ideas of memory, attachment, identity, rupture, and the marks left by connection. Inspired by Gerald Murnane’s Border Districts, and Jep Gambardella’s monologues in La Grande Bellezza, this non-linear narrative is presented as a continual trains of thought, meditation and reflection. CREASE explores these fragmented moments through gestures, places, repetition and absence. The prints operate as visual portals, while the essays provide the reader with space for their own personal reflection.

CREASE sits between design, art, and personal documentation – a project not concerned with outcome but rather with the process of noticing – marks, pressure, the fold, and the point at which something leaves a trace.