France (top) is a move away from a reliance on pre-existing conditions. The drawing is structured horizontally across the frame, offering different sections that register on varying degrees of reference and departure.

On the left side of Wall, traces of external influence remain; on the other, the lines begin to detach, reducing the work to its most stripped components. The reduction reveals an autonomy in which spatial gestures exist without full resolution.

Wall (bottom) continues this movement toward autonomy, assembling a set of tectonic elements without direct reference to a specific existing condition. At its centre, a visual division establishes a condition of separation—inside and outside—without fixing their orientation (left or right). The drawing begins to articulate a spatial and material language through this arrangement, rather than external reference, marking a shift toward illuminating new possibilities.