HOLD MY HAND

The brief I was aiming to fulfill: A creation that embodies the very essence of the instant before reaching out and the instant before being reached out to. No concert, no event, just emotions given a physical presence.

The composition is comprised of two hands: one coming from beneath and the other from a fracture point above. They are linked by a diagonal line of yellowish-white light that traverses a deep space background.

The palette is a dual-tone electric yellow and icy blue applied to a star field background to lend the hands an otherworldly appearance: not quite human and not quite angelic.

The text along the right side of the composition, adapted from Jane Hirshfield’s "The Weighing," is a whisper-weight serif font in the smallest size possible, requiring the viewer to lean in to read it. It is intentionally placed in stark contrast to the scale of everything else on the canvas: a cosmic-scale image and then these words, so small and vulnerable.

The title "HOLD MY HAND" is a high contrast calligraphic serif and condensed sans-serif font: beautiful and architectural in its design.

What this shows a client: if you're a musician releasing something emotional — a ballad, a concept album, an ambient project — or a filmmaker working with themes of connection and loss, I can build in this register. Not every visual needs to be loud. Some of the most powerful posters are the ones that make you feel something quiet.