Thinking of Russian painter Kasimer Malevich’s seminal Black Square 1916 and Australian artist Peter Booth’s early monumental abstractions, affectionately called “the black doors” c. 1970, this work responds to the legacy of the extremely reduced form. Basically, a modernist precept that was heavily imbued with depth and meaning, these works respond to such histories as well as offer a light hearted re-envisioning of such concepts. Finding a narrative in old discarded pieces of wood collected from Australia’s highways during travels on the East Coast, I have tried to instil my emotional and perceptive experiences into a simplified print-form that has narrative as well modernist logic.