Labyrinth

Labyrinth begins with the simple pleasure of getting slightly lost. Mazes invite the eye to wander, following a route without any particular urgency to arrive somewhere.

There is something pleasantly absorbing about this kind of pattern. A line disappears around a corner, meets another, doubles back and sets off again. Following it becomes a small act of concentration, enough to occupy the mind without asking very much from it.

Mazes have performed this role for centuries. They appear in gardens, pavements, manuscripts and architecture, sometimes carrying symbolism and sometimes existing simply as puzzles. The appeal seems remarkably consistent. We enjoy searching for order within complexity, even when there is nothing at stake.

Labyrinth takes the maze away from the puzzle book and treats it as a decorative language. Repetition removes the need for a single entrance or destination. Instead, the journey continues from one section to the next, creating a network that can be followed almost indefinitely.

That endlessness gives Labyrinth its particular character. It offers a gentle distraction in linear form: somewhere for the eye to go during an idle moment, with no requirement to solve anything at all.

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