This work marks the beginning of a new series that takes its title from Jack Whitten’s notion of “composite perspective,” wherein all notions of space and time are considered in establishing a picture plane. The work is comprised of muslin on panel, onto which etched marks are made before multiple layers of dressmaker’s paper are transferred on the plane. As in other works that make use of dressmaker’s paper and muslin, Quevedo references his mother’s profession as a seamstress, paying homage through this familial connection to manual labor and work made by hand. Through these materials Quevedo also plays off of ordered notions of the copy and the original; of what comes first or second.