After handpicking outputs from a generative series, I type them on my Smith Corona Silent Super 1955 typewriter. In this series, I use a few letters or punctuations to create compositions. Sometimes the works convey meaning, other times they are purely abstract, leaving interpretation open to the viewer. Additionally, I use a second typewriter to add texture to each piece.
 
After many iterations, I began with the first work, Geist I ("V"). It's not figurative, but can be perceived as such. The piece combines basic geometric shapes and two different ribbons provide color, transitioning from black to blue.
 
Philosophically, my project is rooted in Hegelian dialectics, with a focus on thesis, antithesis and synthesis. Each work is clash of opposing forces, where minimal letters represent the thesis, anchoring the inquiry. In contrast, abstract compositions disrupt this harmony, signifying the antithesis. Through dialectical negation, or Aufhebung, conflicting elements are reconciled, giving rise to synthesis—a unity going beyond contradictions. This process reflects Hegel's notion of Geist, or spirit, which also lends its name to this series.