This series of prints (her first print edition) is closely related to Sarah Morris's paintings, which take urban architecture as their starting point and present the facades of skyscrapers and other modular urban architecture fragmented as graphically simplified grids. In many of these paintings the grids are dramatically pushed onto the diagonal, often giving multiple or overlapping vanishing points suggestive of vast scale. In the paintings, the black lines of the grids can be read as glazing bars, or as figurative variants on Mondrian's grids; the fields of brilliant colour represent glass, lit from within or reflective, as well as reading as purely abstract geometric forms. The paintings are executed in household gloss paint - in the screenprints a similar effect has been achieved through the use of a glossy pigment. In the prints white areas of un-printed paper replace the black grids. The prints are analogous to the paintings - and to their architectural inspiration - in several ways. They not only replicate the physical appearance of the paintings as far as possible, but also the set was designed on a modular basis so that the prints can be hung individually, or hung together in a pre-set order (each print is numbered and a diagram in the portfolio indicates the proper layout). When hung together the prints create a single work on the same scale as one of Morris's paintings.