“Sightlines” invites viewers into a paradox: a psychological test meant to interpret the inner mind through external perception, yet rendered inaccessible to those without sight. This work deconstructs the classic Rorschach test, transforming it into a tactile and conceptual experience for those who perceive beyond the visual.

The painting is divided into two distinct planes. The upper section, protected behind clear plexiglass, contains black gestural strokes reminiscent of inkblots. Though the viewer can clearly see the shapes, the plexiglass subtly evokes a barrier: touch is denied, and with it, full sensory access. This deliberate separation becomes a metaphor for exclusion—how systems built to understand the human mind often disregard non-visual ways of sensing the world.

The lower part of the painting is a reflective surface: a treated mirror that barely returns your own image. It distorts visibility into near-erasure, suggesting that identity and self-perception are obscured when reliant solely on sight. What once served as a mirror becomes a ghost of recognition, a trace of yourself blurred into abstraction.

By combining transparent obstruction with reflective opacity, the artist reverses traditional roles of seeing and being seen. This piece poses an unsettling question: What if the very tools meant to understand us are themselves blind to how we feel?