Katja Davars workgroup of embroideries are created by drawing back on her early short animated video narratives and on the heterogeneous wealth of pictures from statistics through to telematics. Diagrams and circuitry, the isometrics of flying objects suitable for outer space, antennas and satellite dishes serve as models to be abstracted and distorted beyond recognition. These examples of formalization from the world of technical equipment are applied to the surface of a canvas, dyed in basic colors, in linear stitching with multicolored superimposed layers. Early Bird Outing and Little Oscars, both from 2001, are distinctive examples from a series of embroidered pictures of the mimetic discontinuity – the ‘speechlessness’ – which can no longer draw on perspective construction to create a ‘true’ reflection of nature. Leon Battista Alberti’s, a renaissance art theoretician, word related to traditional painting of the “cloth, loosely woven with the finest threads, colored at will, subdivided into any number of parallel squares by somewhat thicker threads and put on a frame […]” finds its continuation in the embroidered tableaus, though with conditions completely reversed (quotation from De pictura, Darmstadt 2000). The thread has liberated itself from its base and has become a pictorial element itself. We are no longer able to discern anything – we only have a hunch as to what part of the world could be on the picture.