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This body of work starts with the studio wall. Specifically, Bineshtarigh’s studio wall in Salt River; a previously abandoned clothing factory. Two years of work accumulated into a mass of mark and texture, seeping onto the studio wall as an unintended tracing of other pieces. The studio wall is a site for experimentation and record, as people who visit the studio leave their mark on it. The works become an accumulation of time passing through the visual layers seen on its surface. Central to Bineshtarigh’s artistic practice is language and text, written and physical, through intuitive translations and transliterations of shape and form. This results in work that has a written component as much as it has an aesthetic one, with interpretation as an open- ended and involved activity for the viewer, both through imaginative aesthetic interpretation and through the puzzling of text fragments. His intention is embedded in emotive responses, rather than cognitive ones. Through transcription and integrative mark-making, Bineshtarigh’s practice involves a questioning of communication and linguistic identity – occupying a liminal space that explores rather than explains, and enables a mode of working that is both beyond geographical borders but also intrinsically linked to place making and identification.