The grid can be read as three larger groupings from left to right. The left section centres on movement through looking and perspective—gazes that are interrupted, redirected, or allowed to flow. The middle section brings together drawings concerned with standing, struggling, and simultaneously taking root within oneself. The right section has no single overarching theme; instead, it is organised through more local relationships between neighbouring drawings, such as similarities in narrative, atmosphere, recurring motifs, or visual echoes.
The A4 Drawing Archive exists both as a physical archive, organised chronologically by year, and as an online archive. When I look through the accumulated drawings, the associations created between neighbouring images—whether by turning the pages of the physical archive or by following the overall flow of the online archive—sometimes become more striking to me than the meaning or impression of each individual drawing. This exhibition became an opportunity to test those relationships in physical space, experimenting with different combinations in search of the arrangement that felt most meaningful to me.
Encountering the titles of the selected drawings often makes their meanings and stories more distinct. For this reason, I also produced a flyer listing the titles of all the drawings so that visitors could compare them while viewing the installation. Drawings that resisted being named were simply left Untitled.