A branch, a blade, a circle that won't fully close — the traditional subjects of East Asian ink painting, drawn with a brush that occasionally runs dry mid-stroke. The gap in the circle isn't a flaw; leaving it open is the actual convention, a small acknowledgment that nothing closes perfectly. Sitting behind the ink is one thing that doesn't belong to that tradition at all — a synthetic glow, borrowed from neon-lit night films, left in on purpose.