Rather than ‘taking from’ existing artworks, Bracey engages in mutualist approaches that ‘give to’ and ‘work with’ them as active collaborators. Works such as Reflected Self-Portraits, Self-ish Portraits, and Art Treasures of the World embody this ethos through material engagement, speculative thinking, and embodied inquiry. Central to this is making-looking—a studio-born method where meaning is co-produced through tacit knowledge, peripheral attention, and critical enthusing. In Layers of Progress, Hogarth’s engravings are reimagined through layered painting and laser etching. A new wall drawing from Qui Vive deepens its devotional ethos by engaging Fra Angelico’s The Mocking of Christ through sustained, embodied looking. On opening night, Bracey and Annie Morrad present a live Aphantasia performance, inviting audiences into a sensory encounter with visual memory—its presence, distortion, and absence.