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The contour returns, this time as the surfaces separating layers of stacked paper. This cross-sectional contour amplifies as separations between pages are widened by wooden wedges that are inserted into the stack of paper, and dampens as the contour recedes away from the wedges in a narrowing taper. The space of separation is not empty but coincides with the shadowed heaviness of deep relief that seems to solidify. In contrast, the precariously layered bulk of stacked paper that contour the volumes affectively fuse into impenetrable blocks.

The continuous contour again activates the weight of its own surface tension, pressing a multi-color thread against itself, while securing firmly into and along the teeth of a comb (see Fig. 10). As the movement of the thread weaves from one end of the comb to the other in continuous pressing, it sets in motion a rhythm, a rhythm that resonates the movement of drawing with the repeated gesture of moving the comb over the hair until tangles become smooth. The visible color transitions of the woven pattern that appears after-the-fact begins to undermine the abstract form of the continuous contour, as its distinct forms resemble the rigidified, marble plastic of the comb. The extensive tensility of thread, and the rigidity of the comb's teeth lose direction and bite as they affectively co-compose  with the viscous consistency of plastic.

The skin of the ripe pear also holds the contour to a fluid consistency, as its papery skin spills juicy fluid so that lifting the peel is indistinguishable from lifting wet, soggy pulp. The seeping surface is felt more than it is seen, since the skin is peeled as the pear contacts the teeth in continuous rotation, where the excessive wetness lands directly on the tongue. Though ripe and saturated with juice, the flesh beneath the skin holds more firmness than the fragile skin layer, as the movement of peeling becomes firm as it erupts the flesh before filling a new liquid skin. As the continuous contour aligns taste and sensation, flesh and skin it co-composes and re-composes ways of tending to the textures of movement while eating.

The contour remains fixated at the mouth, but continues to contour the circular extremities of form. A distant hum starts to increase in volume, as the memory of wetting the finger to lubricate the rim of a glass while moving over it in continuous contact between rim and the soft padding of the fingertip returns. The juicy pear, the soaked finger and saliva go from wet to firm and then sticky as the water dries and attention lands on the vague memory of all those lipstick-smudged drinking glasses that withstood the clean cycle of the steamy restaurant dishwasher. Then the consistency of lipstick both as stick and in continuous movement presses on attention. The encircling contours coincide the resonant ring and the thick smears of color that grip tightly at the lips.

The fluid ink of a felt-tip marker spreads into the porous surface of newsprint, and the brittle fibers that co-compose to hold the surface in tact. In varying the speed of rendering, and by contrasting the fastest movement with the slowest, the ink variably spreads in directions that are orthogonal to the direction of the linear motifs. The direction of the contour gradually seeps into pores—I feel the intensity of becoming fine as the geometric co-ordinates of the line bleed new edges along the waking tips of paper fibers. Now the page is thick with volume that could lead attention any-which-way—between dry and saturated, surface and depth, blood and skin.

The continuous contour activates a diversity of tensions that propose multiple and contradicting techniques for inhabiting and thinking differences within linearity. The continuous contour is a sight drawing technique that intensifies this transversal alignment by imposing the constraint on the drawing process that the line never lifts from the page—the entire drawing must be rendered with a single, unbroken contour while connecting edges, textures and forms.

Duration Drawing, 2013

White Teeth, digital photograph, 2013

Rim Stick, digital photograph, 2013

Comb, digital photograph, 2013

Weighted Wedge, digital photograph, 2014