In Measured Line, a series of works conceived and created over the past four years, Head crafts tactile experiences by integrating paper with light and space. Imagine the delicate edges of paper catching the warm glow of a hidden beam, casting soft shadows and creating a play of light and form. This sensory exploration is influenced by the practicalities of minimalism as integrated with elements of light and architecture, and balanced by her chosen medium: paper.

For the exhibition, the artist has reproduced the essence of architecture by reducing line and space to its simplest form. Using versatile, flexible, and ordinary paper as the material throughout the series intentionally makes the works' medium (noun) an action (verb): to paper over, to patch up, or to conceal.

The surface of Head's work is covered with a variety of off-white papers, creating a quiet contrast between shapes. The fragility and vulnerability of paper allow for chance to contribute to the overall surface composition; when the surface is damaged in the art-making process, an accidental mark is then covered up with a strip of paper, a pucker is cut out and resurfaced with a swatch, and a patch is added to counterbalance the cover-up. These external forces of chance and circumstance allow for fresh discovery within each new composition.

LED lights are embedded beneath the surface of each piece and partially illuminate the space within through a variety of surface breaks. These openings offer a glimpse into a private, mostly hidden inner landscape. The LEDs emit a subtle radiance that creates a shift from shadow to light. This luminosity can be felt as it spills onto the two-dimensional surface, casting a gentle warmth that invites touch. Light and, at times, material escape onto the surface, fostering a dynamic interplay between the flat plane and sculpture.

The more architectural components of the collection were, in part, inspired by the Yale Art Gallery in New Haven, CT, which is close to the artist's home. A specific element of inspiration was Kahn's renowned coffered ceilings, which echo the structural precision and geometric form found in historical architecture. This component does not necessarily ground the collection in a particular place, but it contributes to architectural history and provides insight into the very material nature of construction.

In the exhibition In Measured Line, the viewer is invited to question the relationships between chance and intention in composition, interior and exterior space, two-dimensional art and sculpture, and the use of light as an artistic element. To further this inquiry, one might ponder: Where does the facade end and the self begin? This question invites the audience into the ongoing debate and extends the exhibition’s narrative beyond the gallery walls, leaving the viewer to contemplate the spatial paradoxes presented.