Subconduction developed gradually through an open-ended process of layering brushwork and fine-line detailing using acrylic paint and pens on black paper. I had no preconceived image or theme in mind; instead, I let the work unfold through alternations of pause and attention, often rotating the paper and responding to emerging structures. The thicker, flowing strokes were made with brushes, while the more intricate strands and textures were added using precision paint pens in varying colors. I was interested in how the visual elements could interlock without repeating — how they might suggest containment, circulation, or directionality without forming a system. Rather than aiming for balance or completion, I allowed the piece to grow from interaction alone, through pressure and resonance. The black paper isn’t a background here but part of the field — defining contrast, absorbing excess, and emphasizing presence through absence. I settled on the title later, as a way of acknowledging the layered, interlaced logic beneath the surface, something that conducts form and movement without showing itself fully. For me, this piece isn’t meant to symbolize or depict anything directly, but to register a mode of attention — a field of suspended resolution.