Two photographic prints are cut into thin strips and woven together in a laborious and meditative manual process. From a distance, observers will recognise blurry figures and faces. Moving up close, they will see an abstract meshwork, in which colors clash complementarily in some places and then flow into one another elsewhere. The Cartesian geometric severity of the meshwork is contrasted by the soft subject matter. The eye can either linger on a figure or, upon closer inspection, wander across the surface of the picture, guided by the lines in the grid or the soft color transitions. Having started working on the technique in 2009, I'm still drawn to finding that point when the two pictures interlock and disappear within each other to create a new composition with an own internal logic.