To keep a studio practice alive alongside teaching, I borrowed an On Kawara logic. Each morning in my campus studio, I closed my eyes and let a crayon choose me. I noted its name—Marigold, Scarlet, Cadet—and filled a prepared sheet with a solid field of that hue. I printed worksheets to designate gradient values, color associations, and sketch patterns. With each mark, I treated the crayon as tool and material—my first writing implement and my first source of color. I photographed every page, building an collection of chroma and repetition. I repeated the ritual until I had used every color in the box.
 
The work is presented as a grid of color fields, a collectino of worksheets, or projected sequences of project materials.