It has a sense of order.
It has a sense of belonging (parts belong together), of keeping harmony. It has a sense of playfulness. Cleanliness.
Clearly it speaks about front and back. But they are very close to each other. There is no depth here, except in the white that may go to eternity.
There are no dramatic contrasts.
Immediately as you pass through the noise of the lines you are in calm-land.
And being in calm-land, you are at the gate of infinity. You can touch it.
And it could be that we do not see the one who sees. In the drawing we have only the layer of thoughts that stands between the one who sees and the scene that is behind the lines. So there is eternity looking through the personality (the lines), at what appears in front of the personality (the areas of color). And soon after that, eternity continues.
And you have the floating ‘I’.
If the ‘I’ identifies with the personality, he does not know anything about eternity. For him the world is made of two: Himself and the world. If the ‘I’ identifies with eternity, he sees only one, himself, as he is playing with personalities and worlds.
I used to be a graphic designer and an illustrator. I became involved with the Chan Meditation Center and studied meditation and Buddhist knowledge with the late Master Sheng-yen from Taiwan. For twelve years I was in a process of deepening my meditation. I had many more experiences and insights and my life changed. After having illustrated more than 40 children’s books and writing two of them, I left this career too and went to New York University to study art therapy.