By the beginning of the second year of art school, my style had taken an abrupt turn. I started working far more with pen and ink, although I'd also still use pencil, occasionally. I started developing a style I'd later call my "Time-Line" period. With this style I was able to break out of the bounds of flesh frozen in time into an experimental world where the delineations at the edges of our bodies implied a motion that extended into the future and past, alike.

The human form took on a plasticity as I pushed at the boundaries which enclosed my mind as I tried, desperately, to break through to that unknown world. My poetry was following a similar route, and it also bounded from that same rubbery wall. Something was pressing back at me!