The Dragon Can’t Dance takes its title from Earl Lovelace’s novel, engaging questions of visibility, performance, and power. The drawings focus on acts of looking and witnessing—how collective gazes form and how meaning moves through masking and opacity as strategies of power.

Through material density and sensorial opacity, the works create zones of privacy and possible escape from hypervisibility. They ask viewers to confront their desire to look and the power within that impulse, holding the work in tension between representation and opacity, exposure and concealment.