I want to show my head as a container of layered pressure, but I no longer allow any part of the drawing to collapse into a single destructive point. Instead I build the portrait from parallel stresses: a cranial shell in multiple passes, an interior spiral reservoir where thought is recirculated, a right-side shear rake that scrapes diagonally across the face without sharing one origin, and a horizontal band that still asserts narration. The whole drawing says: energy can be intense and directional without being violent to the page. It’s a self-portrait of distribution—every gesture has somewhere specific to land.