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There are innumerable ways to compose four buildings, a person and a skyscape. After sketching many arrangements, I discarded those compositions where stable verticals and horizontals prevailed, and kept the one composition where the influence of perspective and the geometries of light and shade imposed a beautifully unsettled arrangement of diagonal lines and tilting shapes. This married well with the conceptual thrust of the drawing, wherein fundamental notions of what one believes to be true and reliable are destabilized by three words.

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