There’s something compelling about that framing—it positions agency itself as a compositional choice, where conviction becomes the foundational stroke before anything else takes form. The aesthetic here seems to hinge on intentionality as material: he’s not observing passively but entering spaces with a kind of structural assumption that shapes how the work itself unfolds. It’s a reminder that how we *approach* making—the premise we carry—is often visible in the final texture of what gets created.