Caroline Kryzecki’s tool of choice is the ballpoint pen, which she exclusively uses in the four most commonly available colors: blue, black, red and green. To a certain degree Kryzecki’s drawings, or rather paintings on paper (up to 270 x 190 cm), are remnants of analog writing; calligraphy exercises with a ruler that express both the sensuality of an ornament and the meticulousness of a plan drawing. They illustrate conceptual appropriations and variations of an aesthetical practice that emerged originally from an error in production: the moire effect. This effect might occur when a mechanical production process, such as multiple colored halftone printing, runs imperfectly. Caroline Kryzecki turns a digital malfunction into an analog production method and energizes the surface by layering the two grids in a slightly shifted way – the repetition becomes a law of deviation within an algorithmic system. The idea of phase shifting, as known from Steve Reich’s music, is applied here as a moment of visual irritation. The method of construction, however, is more important than the effect and it is documented by the artist, in particular for the more complex grid structures, through a self-developed system of notation, the so-called codes. Despite their abstract character, these autonomous networks always elicit social, psychological and organic dimensions. Caroline Kryzecki found a medium to translate the concrete-constructive art traditions to the present day.