At VSC 2025, my work turned toward the problem of the unknowable—how to render what cannot be fully grasped in paint. This residency opened a new line of inquiry shaped by early video collaboration with art historian John Seed and by the disorientation of working while my mother was in critical condition. The studio became a site for testing how uncertainty, rupture, and partial understanding might be carried materially. I wrote additional essays on Structural Omission during this period, deepening the framework and clarifying how absence, instability, and perceptual limits operate inside the image.