where elements, the space-form becoming its own

where the space created between the synchronization of the hand and the digital is itself a space of disruption. This space of the disruption is the emerging of new dimension of architecture, existing both in physical and conceptual dimensions between the infinite dimensional system of time and duration and the Cartesian system in front and behind it. The results are a “live-active layering” between the emerging disruptive elements, the space-form becoming its own “HOSTFORM”.        Although the drawings have machine-like, mechanical aspect, they do not serve the meaning of the word, the purpose is not to puzzle the pieces together because as one may notice, this is not possible, the pieces would not compose a whole. The drawings rather denote a ‘machinic’ environment, in a sense of deconstructing the machine components, spreading them in the visual space. There is no end result, neither mechanical or fantastical to which the viewer may be familiar. This is the part of the boundaryless exploration of the unpredictable between 2 dimensional and 3 dimensional space where the two do not operate within an existing principle of order. While some elements may seem familiar as for example the planes that may be interpreted as walls or elements that mimic a steel structure, it is only an illusion, it is perhaps a way of anchoring the viewer into his work by holding out the promise of further comprehension, engaging him in a further conversation. At often times there are some Japanese characters present in his drawings, the hiragana and katakana sets, which again reinforces a familiarity of the viewer to the representations as most of the observers are aware of the ideographic nature of Chinese writing. However, these are elements borrowed from the kanji characters of Chinese writing but the Japanese developed 2 syllabic script to supplement it so, instead of corresponding to a word or idea, each correspond to a particular sound. Thus, they offer flexibility in the arrangement of a meaning. Likewise, Cantley’s drawings do suggest a space of multiple interpretations.   Other elements that guide the intelligibility of his drawings are the neutral graphic symbols that one may interpret as notational devices, exhibiting the movement of the elements,interacting with them. Cantley persistently uses these elements to apparently create clarification while paradoxically at the same time provoking the intelligibility of the drawing.        All these elements create an obfuscation in his environment, allowing interpretation and potential possibilities within the machine. The possibilities of nature in comparison with the machine are unlimited. Cantley deobjectifies the machine from being only a limited human construct and makes it the fabric of the environment itself, an alternative nature from where unlimited possibilities can flourish. Thus the machinic becomes the raw material from which new elements are derived.-                 Humans have an intimate relationship with their machines, by the use of them they are in a close contact, the machine almost becoming an extension of the body.        Layering creates a new typology that could formulate untested cartographical decoders for Cantley. Grids, mirages, substructures of Mylar and even ink becoming impregnation membranes. His intent is to transform “immeasurable things into measurable entities-and back again into the impossible… The thing underneath” One of his question is : ” where does the act of drawing take place? Is it on the page or in the subconscious?” Phenomenological studies suggest that the drawing describes event space. Whereas