Self Portrait's base layer, resembling a soft-hued grid, is composed of multiple floor plans: some recalled from childhood memories, some lifted from her own home, and others still from plans of a new house. Upon this architectural foundation, the repeated shapes of torso sewing patterns and other garment pieces appear to descend, twisting down the centre of the work. This suggestion of falling and movement atop the careful, detailed gridlines of the architectural plans not only offers interesting juxtapositions of rigidity and movement and of opacity and transparency, but also hints at a new shift within Nazer’s practice. What seems at first to be the solid structure of technical plans unravels upon closer inspection: the floorplans delineate spaces that are sometimes impossible to manoeuvre while the garment patterns obfuscate and interrupt with precarious movement. At such a scale, the muddled feelings of negotiating and anticipating change become palpably felt.