Currie’s paintings come about through iterations of process and material. These iterations as seen through mereological thinking and self-rules create series of paintings that can be seen as parts and wholes. Each part is a study of its individuality and its relationship to the whole and a sort of versioning of painting itself. Using traditional materials such as oil paint, rabbit-skin glue, linen, canvas, and stretchers, these components are the tools and the process themselves. Mark-making occurs through combinations of stains, smears, and inversions with a variety of paints, primers, and glues. Each completed piece then enhances the larger conversation of contextual relationships.