It turns out what Petra planned for the large painting on paper was to make it even bigger, at least in terms of length. Spinning off of Signs Left Behind Petra envisioned stretching this painting out into a ten foot painting by using 24 of the same gesso board panels, only 5 inches square instead of 6. Twelve of the panels would be 2 inches deep, the other twelve would only be 3/4 of an inch instead of 1 1/2 inches deep in order to provide a greater difference in depth. Franzi would do his blue thing to the cradled side of the panels making this another double-sided painting. Petra would cut apart and mount her painting on paper to the non-cradled side, sealing the surface with acrylic matte medium. After which I would paint shapes derived from one of the Deciphering Elegy which I would take apart further in order to stretch it across the ten feet of the painting. These fragments of the shape would be the building blocks - letters - of the paintings grammar; when combined they form the syntax of its language [Foucault, 1970: 34-44]. The shapes would be simultaneously light and monolithic, complementing and contrasting the white, airy, fluid ground of Petra's painting and Melusine's writing upon which they stood or rather in some cases create a space receding from the shapes formed by the white space flowing around leaving the spectator to ask not only what is front or back of this painting but also which is figure and which is ground?

Here are the photos of what took place.

The last two pics are only the first two of approximately 14 thin layers of oil paint, a layer a day for two weeks.