Almost Nothing, Almost Everything is a pair of related diptychs that explore the relationship between the infinitesimal and the infinite through decimal numerals. Each drawing is composed of numbers written by hand. Almost Nothing begins with a zero and a decimal point, followed by a sequence of zeros interrupted by a single 1, and continues beyond. The resulting number approaches zero without ever reaching it. In contrast, Almost Everything begins with a 1 followed by a sequence of zeros, expanding toward an immeasurable magnitude.

Together, the drawings establish a tension between two limits: one approaching nothing, the other approaching everything. Though materially and formally similar, their structures diverge at the decimal point, producing radically different scales from nearly identical means.

While Almost Nothing, Almost Everything I builds each number into a square field through the accumulation of handwritten numerals, Almost Nothing, Almost Everything II reduces each number to a single horizontal line.

Like The Veil (after René Magritte’s The Lovers), these works explore the paradox of proximity and distance.