This series takes its title from Pataphysics—a nonsensical pseudo-science invented by Alfred Jarry, the early 20th-century French avant-garde writer. Before he created Pataphysics or wrote Ubu Roi, the play for which he’s most remembered, Jarry dabbled in woodcut printing and edited two magazines: L’Ymagier and Perhinderion. These journals were prescient in their radical combinations of high and low, showcasing everyday printed ephemera alongside reproductions of fine art prints by the likes of Albrecht Dürer. Jarry’s transgressive curation gave me permission to investigate the space between print and drawing. In these works, numbering just over a dozen prints so far, a simple line etching of a rectangle serves as a frame within a frame, in which decontextualized images of street furniture are drawn and painted. In an effort further to play with the conventions of the edition print, these works have differing rule numbers added with a rubber stamp, an office print tool used only rarely with fine art prints.