Two Horizons returns to oblique projection, excavating its capacity to produce instability and moments of visual rupture. Rather than avoiding these effects, the drawing actively engages them, allowing contradiction to become a central mechanism.

The drawing is structured through a split field. In the upper section, lines extend in one direction; in the lower, they follow the same angle but project in reverse. This reversal creates a sustained conflict, where the drawing cannot resolve into a stable spatial reading.

As a result, the work is in a state continuous translation, shifting between multiple possibilities without ever stabilising into a singular conclusion. What emerges is not clarity, but an instability in which perception is held in perpetual tension.