これらの線画はおもにPigment linerなどのペンによって描かれている。抑揚のない機械的な線によって名画の輪郭を描いていく。トレースではなく見て描いているので、複数描くとそのときそのときの線の違いがでてくる。Paintingを線で見るとどうなるのか、という実験でもある。これらはPainting on paintingの油彩の下絵ではなく、油彩と同時に進行したドローイングでもある。

These line drawings are executed primarily with pens, such as pigment liners. The outlines of historical masterworks are traced with unmodulated, mechanical lines. Because they are drawn by eye rather than direct tracing, subtle discrepancies emerge in the lines from moment to moment when multiple versions are produced. This functions as an experiment: what happens when a “painting” is perceived strictly through line? These are not preparatory sketches for the oil pieces in Painting on Painting, but rather drawings that advanced concurrently with the oil paintings.