Loneliness is an enduring condition, regardless of how adeptly we may have learned to accommodate or evade it; it remains an ever-present reality. To live with it is akin to oscillating between two extremes – confronting it or averting our gaze. Confrontation yields a symbiotic relationship with the unknown and our desires, while looking away entails closing the internal eyes and seeking validation externally. Engaging in work, striving to be indispensable to others, becomes a performative act – assuming an idealised persona to distract from the internal blackhole. Through this performance, one convinces oneself of a transcendent, fortified belief in their individuality. Yet, one continually observes the body oscillating in this bipolar state, ceaselessly evolving Thus emerges a portrait of a Satan within one's heart: a vigilant observer of the ebb and flow of uncertainties and sympathies along life's journey, a demon closely tethered to one's desires. Ultimately, one transcends mere duality of existence.

This figure finds inspiration in Gustave Doré’s illustrated tome on 'Paradise Lost'. I was struck by Satan’s unwavering devotion to his revenge; somehow, his active consistency and daring desires morph into a symbolic representation akin to that of a workaholic.

Painting acts as a metaphor, with charcoal powder embodying a solid, staining dust – transitioning from the life of the tree to something altogether different. It possesses a softness that belies its ability to leave a lasting mark, akin to a gentle imprint upon existence. Its materiality captivates me, resonating with the Law of Conservation of Energy: Within a closed system, this principle dictates that the total energy remains constant, only altering through energy entering or exiting the system. Energy cannot be created or destroyed; rather, it undergoes transformation or transfer from one form to another. How alike we are! Humans are forever engaged in a process of change and becoming.