I picture myself as a record of relationships that touch without intrusion. I seed a field of hidden circles—quiet certainties I don’t draw—then trace only the straight lines that kiss each pair at exactly one point. These bitangents are permissions rather than penetrations: brief acknowledgements that two domains can meet cleanly and move on. The portrait is a ledger of such contacts, revealing identity as a mesh of disciplined encounters—no fills, no closures, just lines that respect what they touch and the air that holds them apart.