Bouffandeau’s blobs are in contrast to Morellet’s straight and ordered shapes that employ lines in a studied and specific manner. In the 1950s, Morellet devised a system of four linear categories
: “juxtaposition and superposition”, “interference”, “fragmentation”, and “chance,” which together, defined how his lines would interact with one another. His works display a focus on material and play with it—Jazz Line
(2007) takes the simple gesture of rotating squares and dropping a line down their centers to highlight their dimensionality; this gesture is repeated in the inverse in Lamentable (Despicable)
(2008), where the vertical axis is instead used to give neon lines weight and dimension. A large group of prints move from detailed patterning to larger presentations of geometric form, yet no matter the scale, retain an open, architectural air characteristic of Morellet’s practice.