This selection of works are an investigation into the objecthood of a painting as its primary function. The voids were used for this purpose by first removing the 'central figure' that occurs in the middle of a painting. I became interested in the edges, the peripheral, and by building stretchers with edges in the centre I could bring this to the fore. It also made the stretcher inately part of the work, elevated from mere support. The building of the painting-object was a counterpart for the mark making. This mark making then became 'the ground' in painting terms, to become more congruous with the object.