Embracing the archetype of the labyrinth in both form and concept, the work presented functions as an artistic exploration of the landscape between opposites such an interior / exterior; personal / universal; logical / emotional; matter / space. Departing from the drawing technique called Labyrinthine Projection, the author details his process and the background influences behind the work. The work generally does not represent the typical or classic labyrinth model, though clearly labyrinthine in nature. But like the labyrinth, this work is formulaic because it subscribes to a very rigid set of constraints. Unlike the labyrinth, the work functions best through its meandering rather than a prescribed form. It is an aesthetic that can change character as a function of the viewer’s proximity to the work, or when employed as form versus decoration.

Each finished work was chosen for its representative quality of either art, craft, or design. The installation as a whole represents any successful creative endeavor which must satisfactorily unify these three modes. I consider these modes as indispensable and integral components to the full creative expression, just as the Ouroboros has a head, tail and body.