Chimney begins with a specific memory: the chimney as the centre of a house, a point around which space and experience are organised. In this drawing, it acts as an origin and anchor from which surrounding forms can emerge.

While the work moves away from the use of an explicit frame, it does not fully detach from the need for a point of reference. The chimney remains a fixed centre, around which projections gather, hesitate, and disperse. On one side, the drawing stretches outward, losing intensity as it moves away from this point. On the other side of the drawing, lines contracts, forming subtle edge conditions that echo the presence of a frame.

The expansion of lines generates a tension between movement and restraint. Chimney is a transition in which the drawing moves further from fixed boundaries, while still negotiating its dependence on a central point of origin.