In the act of drawing, the hand is traditionally a tool of self-expression, a direct link between the artist's internal world and the external mark on the page. But when the tremor, over, the lines shift, waver, and blur. The shaky hand no longer is in control; instead, it marks the paper with erratic, chaotic and unpredictable gestures. This disruption—while frustrating—is also profoundly significant. Just as lithium is carefully measured to stabilize mood and control tremors, the act of drawing becomes a process of calibrating the self. Too little control may lead to chaos; too much may stifle the freedom to create. The hand’s uncontrollable movement on the page speaks not only to the vulnerability of the artist's hand, but to the fluid, ever-changing nature of selfhood itself. It acknowledges that identity, like the drawn line, is never static but rather a series of marks—sometimes clear, sometimes shaky—that come together to form an imperfect whole. never fully in control.
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