“I don’t know whether you have ever seen a map of a person’s mind. Doctors sometimes draw maps of other parts of you, and your own map can become intensely interesting, but catch them trying to draw a map of a child’s mind, which is not only confused, but keeps going round all the time. There are zigzag lines on it, just like your temperature on a card, and these are probably roads in the island, for the neverland is always more or less an island . . . we too have been there; we can still hear the sound of the surf, though we shall land no more.”
Restricting the aesthetic to a repetitive stroke simulates the white-noise needed to take the audience to an apophenic place (the experience of seeing patterns and connections in random data/shapes); a perceptual deprivation that is conducive to a meditative state where we are allowed to be nostalgic using our imagination and memory. The drawings in The Neverlands document an individual learning process using this creative method of meditation to help us understand death, while allowing thoughts and memories to wander to far off places.