b'Windows onto the InfinitePart of the reason for the segmental construction of these pictures and their dis-rupted surfaces is a result of Margots experience of using discarded packaging as art material. This began by chance and necessity, but quickly grew into a seri-ous part of her creative process. As she explains: In 2016, I was at a festival. There were few people and I was bored. I had forgotten my drawing pad, so I went into the bins to look for a medium. I found a cigarette packet, which I took, opened out and drew on. I make several of these pieces and placed them side by side. I quickly realise that I could assemble them and create a much larger surface than the original but still in repetition! I decided to assemble packaging of the same size and in this way make larger drawings, since I appreciate large surfaces. I did several drawings in this way. I am motivated by the change of pace and the research. Through drawing on packaging, I realised that each item has a skeleton that is in its folds. Astonished at this observation I decided to cut them up, resulting in shapes I could sort approximately by re-semblance. My first rule was always to cut up packaging along the folds. In this way re-striction becomes a force. The elements were then arranged together on a sheet of paper 70 x 50 cm. Over time I realised that this was the best format for this particular series. The balance was good. Each piece of paper had its purpose and should be in such and such a place. Its like construction workers. Each stone has its purpose and the same goes for sheets of paper. Construction is determined by rules, which in this case depends on each piece being cut from the folds. This methodology was therefore in part a way of producing larger works from smaller elements and of introducing rules of construction that were also subject to the laws of chance. It was also a way of extending the life of discarded objects and incorporating the echoes of their use history into her work: I really liked this medium, which I call poor paper. Its a way of enhancing something des-tined for the bin. The figurative elements in Margots works are often recognisable as schematic faces or human figures. In The Matron, for example, the dominant form consists of a schematic, fecund figure that is part-human and part-botanical, which en-velops five or six similar figures. Ripples of these forms extending to the picture edge are also constructed largely from figurative devices. There are faces with 10'