How to make a line drawing stand out if its individual elements are so loosely distributed over the surface that they don’t even touch? By embedding a supporting grid composed of thin vertical and horizontal paper strips around the loose drawing. This grid and the drawing exist on the same level, they are part of one and the same sheet of paper.
However, the paper has a double function. For the drawing it acts as the basis, whereas for the grid it is the material from which the latter has been cut. This is how things seem, but this differentiation only works as long as the process of drawing is defined as something placed on the surface of the paper medium. Would it not also be possible to see the grid as a drawing, in the sense of it being a spatially imagined papercut? After all, by making cuts like this the colored crayon drawing has moved into the realms of a papercut, albeit one that has been equipped with a colored line, the expressive style of which more probably concurs with the prevalent notion of drawing than to that of a strict grid. It becomes clear that the link between a grid and a drawing cannot be debated on a purely technical level. It is no longer possible to make a distinction between drawing and labeling, between backing medium and a sculptural material, between figure and background.