Bird Stipplings
In Bird Stipplings, I engage in a deliberate quietude: a meditative conversation between hand, eye, and the subtle architecture of avian form. Each drawing is composed by building up thousands of tiny ink dots. Through the slow accumulation of these points, I explore not only the beauty of birds, but also the internal rhythms of attention, memory, and patience. As an amateur ornithologist, I am drawn to birds both for their delicate forms and for their transcendence — in flight, song, and presence.
Stippling itself reflects a dialectic I deeply care about: between chaos and order, between the micro and the macro. A single dot may seem insignificant, but together, they become contours, shadows, and motion. Just as I use limited systems and recursive patterns in my kinetic geometry work, in these bird drawings I also lean into minimal tools (pen, paper, time) to produce maximum expressive fidelity. The commitment to precision — when most dots measure less than 0.003mm demands a discipline of care and focus, as well as humility and reverence for the natural world.
These drawings are not purely observational. They are inquiries into presence. In a world moving at speed, slowing down to stipple is a way of entering a different temporality, one that aligns with the bird’s own rhythms: the stillness before take-off, the arc of a wing, the pause between calls. The resulting images invite viewers into that temporality — into a place where form, pattern, and spirit meet.
Through Bird Stipplings, I hope to offer both a portrait of species and a mirror: a reflection of how we attend to life, how we map our inner landscapes, and how a methodical hand can become a vessel for both observation and wonder.