The Jinsihiou Sequence confronts curves within a practice configured largely by straight edges. Emerging from a projective awkwardness with the arced mark, the drawing acts as a deliberate collision.

Working with a set of standardised curved elements the drawing builds a series of repeated projections that originate from a shared geometrical structure. Each arced shape is only used once, producing variations that destabilise the idea of standardised uniformity. What appears standardised becomes inconsistent, as differences emerge through configuration and proportion.

Through this process, the drawing sets up a tension between repetition and variation. The result is a space of instability, where structure and deviation exist simultaneously.