In this post we will take a look at the three smallest arrangements of drawings. Of the three, Interruption #2 is the most like the larger arrangements. We see the individual nature of each drawing as an important component of the overall presentation, but they could also stand more independently as well. Though they may gain something from being displayed together, they each hold their own as possible narrative components.

Interruption #5 is the arrangement that most clearly requires the presence of multiple individual components to complete the piece. In fact, this is the only set in the exhibit that acts as a triptych, with some elements crossing the space between images and visibly connecting the three lower panels. The upper drawing, though not as clearly connected, works as a compositional “cap” over the central panel, drawing they eye up and then pressing it back down into to lower portions of the arrangement.

The final smaller arrangement, Interruption #6, seems to rest somewhere between the other two we have looked at today. Though each of the four is clearly an independent work, there is something about the repetitive use of compositional and conceptual elements that that makes the experience richer when we see all four together. Whether it is the similarity in color palette, horizontal splits in the compositions or the mix of organic, aquatic and figurative elements, there is something that seems to draw these four more closely together in their communication with the viewer.