I picture my attention as a countable procession of “gatefolds”: discrete openings that appear wherever two complementary rhythms divide a circle. I let those rhythms—born from an irrational ratio—decide which places are allowed to speak. Around several soft-edged superellipse rings, I register short, disciplined strokes that point inward and outward, like hinges that briefly open the surface before closing again. Selected hinges then hand off to one another across neighbouring rings through clean chords, so intention travels without sealing any chamber. Crossings are permitted; perfect retracing is refused. The portrait is a ledger of permitted entrances and measured transfers—an aleph of tiny decisions arranged with air and restraint.