By the beginning of the second year of art school,
my style had taken an abrupt turn. I started working far more with pen
and ink, although I'd also still use pencil, occasionally. I started developing
a style I'd later call my "Time-Line" period. With this style
I was able to break out of the bounds of flesh frozen in time into an experimental
world where the delineations at the edges of our bodies implied a motion
that extended into the future and past, alike.
The human form took on a plasticity as I pushed at the boundaries which enclosed my mind as I tried, desperately, to break through to that unknown world. My poetry was following a similar route, and it also bounded from that same rubbery wall. Something was pressing back at me!