Again thinking about the last critique and the comments about how the drawings looked like they were moving and had fluidity to them, could I introduce fabric to my work as a surface to draw on? Canvas drop sheets would allow me to not only draw and paint on, but if I can get my hands on one large enough I could not only think about how it is installed in a space, whether it be suspended from the ceiling or hung on the wall and draped across the space, but it would also allow

Combine the freestanding structure of the wooden plinths with the canvas drop cloth?

I will have to reuse/rework previous work. At least use the materials from them, get them primed as a new working surface.

I feel like my CMY colour palette is the way to go. Re-reading through all of my critiques I have found that a positive that runs throughout is the simplictity but also the effectiveness of my palette. It is soft but the drawings are still readable. It also helps with my drawing process of layering images over each other as the layers differentiate from each other while also creating their own layers in between. Thinking about my last critique, this would also put emphasis on

Building on my recent research into structural and spatial thinking, freestanding structures, and anamorphic imagery, I have started to recognise how these ideas connect back to my ongoing investigations into facial blindness and fragmented portraiture. Rather than treating the drawing as a flat image, I am beginning to understand it as something spatial and unstable — something that can be physically disrupted, repositioned, and re-seen depending on where the viewer stands.