Tracing…

Drawings

2018

April Kam
Tracing… 000, 2018
fineliner on paper
14.8 × 21 cm

This is an imagination of how life grows within her body.


Move the sheets. Click one to open it.

2022–2024

April Kam
Tracing… 004, 2022
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 006, 2023
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 011, 2023
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 014, 2024
fineliner on paper
14.8 × 21 cm
1 / 4

2025

April Kam
Tracing… 024, 2025
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 029, 2025
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 030, 2025
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 033, 2025
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 042, 2025
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 048, 2025
fineliner on paper
14.8 × 21 cm
1 / 6

2026

April Kam
Tracing… 055, 2026
acrylic marker on paper
14.8 × 21 cm
April Kam
Tracing… 063, 2026
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 066, 2026
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 067, 2026
fineliner on paper
14.8 × 21 cm
April Kam
Tracing… 073, 2026
acrylic marker on paper
14.8 × 21 cm
1 / 5

On the day the pregnancy was confirmed, the pattern from April Kam's teenage years returned automatically. It reappeared again three and a half years later, when she was pacing through the living room with a toddler, this time as tracks of their movement. It stayed, in the form of repeated, automatic line drawings inspired by the traces left within the research subject: the living room. The site that contains the movements, the laughter, the struggles and her new reality is translated to paper in intimate scale. The drawings invite you to come closer, to look at her family's private life, the paths they crossed, and the room they try to leave for one another.

Tracking

2022–2026

2026

Animated trajectory, 2026

The tracks above began as time lapse footage, recorded by a camera mounted in a high corner of the living room. They were mapped by hand from 2022 to 2026, and are now mapped with code. These lines are the source of the drawings.

Footage of the household is raw research material and is never exhibited. No person is identifiable in any output. The work shown is the trace, not the image.