“‘Greyer G’ poses more of a philosophical question with its palindromic construction: Which is the greyer G, the one at the beginning or at the end? The ranging gradated grey coloring reinforces the conundrum. It asks the viewer to try and distinguish between almost imperceptible differences and measure degrees of greyness, which is futile because greyness, or any color, can’t be measured objectively. I didn’t intentionally make one of the G’s greyer, but because the hand is not a machine, there is the strong possibility that the colored pencil strokes of one of the G’s are greyer. The body (eye and hand) is as much a part of this equation as the conceptual brain. As in ‘New Orleans’, a small body of letters (seven) is charged with presenting larger questions about impossible comparisons and the fallibility of making judgements about color. The extent to which ‘color’ applies to people, is subjective and up to the viewer to consider.” – Kay Rosen