For Curtis Magri, drawing, once originally just a tool of her art, is now an end in itself. She is interested in the way the materials manifest association and meaning but what she includes in her work is driven mainly by formal concerns. The artist is dismissive of a neat, conclusive narrative, and in some cases, a cartoon like one disturbs the white of the paper or canvas just as the charcoal interrupts the purity of the picture surface. The negative space around the image becomes as important as the motifs within it and presents those motifs for quiet contemplation. Tension is produced as we recognize some of these but are unable to make all the connections into a coherent whole.