In October 2012, I started to draw installation layouts to scale as a means of planning an exhibition of my paintings. The template I settled on—a horizontal band demarcating the floor, leaving the rest of the page an implied wall—proved quite useless for that purpose, but the exercise developed momentum on its own terms, as drawing. With the addition of collage (both digital and actual), the process has made room for surrogate paintings culled from a variety of sources, principally found printed matter. This work has provided me with a concrete way to think about compositionality, seriality, improvisation, presentation, and the psychology of visual perception.