I am fascinated by images arrested on the threshold of coherence. In my work, latency and poor resolution are transformed into visions. Texture and form take precedence over indexicality and rationality, invoking an almost precognitive comprehension. Oil pastels were invented in postwar Japan for schoolchildren as a haptic, heuristic and colorful medium, an alternative to didactic instruction. Inspired by that origin, I let the material lead and impose its conspicuousness, resistance, and accretive properties. Boundaries between sight and recognition, latency and resolution, and figure and abstraction are destabilized as illegibility and ambiguity become structural conditions, a way of sitting with indeterminacy rather than attempting to resolve it. In color, pixel noise and compression artifacts give shape to projections, dreams, semi-familiar forms, while in monochrome, darkness solidifies in the process of spreading. The paintings are documents of a certain restlessness and pursuit, attempts at immanence and materiality in a time of steady, ambient dread and uncertainty, in counter to images that give us nothing even when they resolve.