Ginsburg’s long-exposure monoprinting technique involves rendering paintings in reverse on glass through dispersed brushstrokes and optically mixed color palettes. Layers of acrylic build up into a membrane-like surface, reinforced with canvas once the composition is complete, echoing the viscous nature of paint and unseen vibratory surroundings. Inspired by images found within a coolant system of an engine, the composition of 'Point of Deflection; III' extracts a picture plane distilled into gestural abstraction. Ambiguous forms oscillate between machinic structures and biological matter, evoking perspectives reminiscent of microscopy or bisected architectural drawings.