Ceara Metlikovec’s drawings place us in front of a gently oscillating screen – one that steps in and out of a caliginous depth. Like Agnes Martin, Metlikovec establishes the province and begins a regime of marking the paper. Inching across this field, gesture by single gesture until complete. This accumulation of single vertical graphite bands traces time and varying pressure. Like a closely observed genome map they appear to be an information barcode that carries data in their form. One assumes that for Metlikovec, such a mantra-like process is a way to negate diversions and intrusive thinking – to empty the mind amidst the process. What one finds, of course, is that these works are open to being ambushed by meaning and possibility. Metlikovec’s touch and the sensitive interface between graphite and paper produces works that have a both a delicacy and a structured anatomy to them.