As with metal work, I use deep magnification to mark the surface of the bone in preparation for etching or burning. This is an intense process that I find both meditative and curious. I start out with an idea for where to place lines, and then once I’m in the middle of drawing, it changes course.
When I’m creating fractals, I become hyper focused with an ever expanding surface to explore. When I take off the magnification, I’m stunned with where the lines have taken me. The piece comes to life in this process, as if some kind of universal force has been the engineer.
In the end, the pictures that emerge are the result of allowing my hand to follow the flow and attempt to control the symmetry. But as with humans, no two sides of a creature are ever exactly the same.