For several years beginning in the late 70s work was carried out on a series of low-relief dimensional drawings, usually formal and self-referential. A neutral surface of graphite and beeswax was devised which could be brushed onto particle board hot and then ironed flat, producing a highly metallic surface simultaneously absorbent and reflective. The surface proved restless, thwarting viewer's expectations of stable spatial position, and allowing the flat elements and the tilted elements to equivocate in a specular contest of positionality. This technique provided the illusionistic characteristics of traditional 2-dimensional perspectival picture organization, in visual conflict with physical extensions into actual space.