Martin Thompson lives in the capital of New Zealand, Wellington. On his solitary wanderings, he always carries a bag full of his paintings — freshly completed and newly begun, but also some that are several years old. All of them emerge from an attempt at imposing order and logic onto randomness, at reorganizing chaos into a graphic system. Thompson works exclusively with pen and graph paper, meticulously coloring in the tiny squares, cutting them out with a scalpel, and pasting them onto an adhesive surface with surgical precision. Through their layering, he creates complex patterns resembling radiating mandalas. He often uses his lap as working surface — sometimes at the local café, other times on a park bench. Because his works play with the concept of positive and negative, they are exhibited in pairs — each has its exact clone in the inverse color scale.