Infill develops from the material-driven explorations navigated in The Quirinale Palace series, extending its focus towards embodied tectonic assembly.

The drawing explores the notion of the in-between, responding to the constraint of context. From this, lines emerge through a responsive action in which each line contributes to a larger constructed assemblage, always avoiding purely compositional gestures.

Rather than beginning with a perceived final form, the work develops through accumulation. Chambers and volumes are shaped by memory, perception, and the embodied act of drawing. As the drawing unfolds, fragments open and reconnect, producing a shifting field where structure is both exposed and reconfigured.