Pattern Scrying

Pattern Scrying is an ongoing body of work that emerges through drawing, layering, recording, and attentive observation as a way of reading how place, body, weather, memory, and material intelligence intersect. It is not divination in the predictive sense. It is a practice of close listening to patterns as they are forming and dissolving across time.

The work grows from my daily bilateral drawing practice, developed through sensorimotor art therapy and long engagement with proprioceptive and interoceptive perception. When I draw this way, the hands operate as their own intelligences. They interrupt cognitive habit, break patterned loops, and move through pathways that arrive before language. What appears is not representation but translation. The page becomes a sensing surface where internal and external conditions meet.

Through this practice I attend to subtle pattern fields: the way land folds, how wind moves through a ridge, how roots adapt around stone, how bodies bend with illness, how history stores itself in muscle and weather. These patterns repeat at vastly different scales. Rock strata and bone structure mirror one another. River braiding and neural firing echo each other. Long time and short time occupy the same forms.

The works often take shape through layered drawings, projections, tracings, smoke, film fragments, spectral photography, charcoal, plant inks, bacterial dyes, and recorded movement. Some become large composite images. Others remain as daily traces. Many sit between drawing, diagram, weather log, and residual imprint. They are records of listening rather than documents of control.

Pattern Scrying also holds the lineage of works where bodies and landscapes are overlaid through movement and repetition, where figures are traced through exercise footage, where desire lines, animal paths, and human routes blur into one another. These works observe how industrial patterns and cultural weather condition bodies, and how bodies quietly resist by finding other ways of moving.

This practice began alongside my earliest questions about matter, epigenetics, microbe intelligence, and how unseen forces shape perception. It is where The Book of Receivings first formed as a relational field rather than a project. It is also where weather, trauma, memory, and material agency became inseparable.

Pattern Scrying is not a series with fixed edges. It is a continuous method running beneath many of the projects shown here. It is how I stay in conversation with place when language is insufficient. It is how I learn where change is gathering before it becomes obvious. It is how I keep finding my way back into the flow of things.