Spontaneity, that elusive ghost, was the lynchpin for Daisy Cutter. Early on in the process I relied on the wild gestures of the drunkest of Abstract Expressionist painters. Inevitably, though, these gestures were masked off, mimicked, painstakingly cut out, repurposed, and by all means sober-ized. These “gestures” were then assembled en-masse in an entirely new configuration on a large gallery wall. The practice of tempering the gesture through addressing its negative spaces (sometimes through cutting out, other times through filling in) quite literally slows everything down. A mark that was once a direct signifier for immediate gestural movement has slowly and carefully become undone, limiting the presence of the author’s body while heightening the implication of autonomy. Additionally, frames were painted on and hung perpendicular to the wall, adding another layer of complexity for the viewer to decode.