Eachin is not a style, nor a method, but a condition of perception — a shared field where two minds surrender personal authorship to access what lies beyond them. In this space, we invoke Ingo Swann’s dual forces of extension and expansion:
We extend beyond the limitations of the self, moving awareness outward into subtle zones of intelligence that evade language.
We expand inwardly, opening perception to the layered architectures of intuition, memory, and resonance.
Eachin is a conduit — a transpersonal channel through which unfamiliar realities surface. It refuses containment. It operates at the edge of what the eye can perceive and what the psyche can comprehend. Through the act of painting together, we become receivers rather than creators, divining forms that belong to neither of us, yet emerge through both.
In this state, identity is diffused. Each mark destabilizes authorship. Each gesture reveals something previously occluded. The work is not a product but a trace — evidence of having entered an altered perceptual terrain.
Eachin is a fracturing of ego in service of expansion.
Eachin is a probe, sent outward.
Eachin is a lens, turned inward.
Eachin is the third body formed when two surrender.