Meta-Resonance: Trinity of Shadows
Meta-Resonance: Binding of I & N

Medium: Hot and Cold Pressed Paper, Twine, Woven Wire Mesh, Compressed Charcoal, Charcoal Pencil, Aluminium Sheet, Kapur Timber, Dry Wall Screws, Metal Brackets and Pen

Meta-Resonance investigates intention as the ontological engine of artistic creation. Through the shifting constellation of I, M, and N, the work maps how plurality forms a shadowed interiority, where intention is both withheld and withdrawn.

Drawing from Islamic metaphysics and continental philosophy, intention (niyyah) is understood not only as an ethical force but as practical exertion- a movement of the self materialized through gestures, reductions, and ruptures as means of expansion/resolution.
​
Neo-concepts such as Asemic-tism, Barzakhic Surface, and the Juncture of Silence propose abstraction as an active metaphysical opening.
Here, the artist becomes a unique mediator between realms—labouring through mark, cut, void, and shadow to awaken dormant traces within the self.

Ultimately, Meta-Resonance advances a new artistic epistemology, positioning artmaking as an ontological practice where the artist’s intention operates as witness, labour, and wound resonating between revelation, concealment, and Becoming.

Meta-Resonance: Trinity of Shadows

Meta-Resonance: Binding of I & N

When the Wind Blew My Whisper To You Back At Me: ​III\ \I : // II I V//:

Kapur Timber, Stainless Steel Brackets, Stainless Steel Brace and Twine​

What M does is to be unified through the performative aspect of atonement. M proceeds with building a connection with the divine
through a form of asemic writing– by sawing lines (horizontal, diagonal, separated, overlapping, simple and complex groupings) and drilling holes into timber posts.

The pen is replaced by a handsaw, the paper by the timber posts, the spoken replaced by silence. Entrapped within this active contemplation qua juncture of silence, M, speaks and writes by stamping sawdust (a new syntax) on the ground, one at a time. Not presuming a system of making
meanings, the asemic writing goes further by radically negating the necessity of signification. Thus, what M offers is to position its Being into a
set of ritual where the ineffable forms new systems of unthought syntax. M and its other states of Beings are brought together in an eternal state of seeking the inconclusive.
​
The juncture of silence becomes a sacred pause not filled with absence but with an unknown potential. It is a momentary sanctuary for Beings
to be in harmony with others and the divine– away from the structures of language. The fragmented and the unreliable becomes both wound and suture.