A grid of thirty-six ink drawings by Dutch artist Pieter Holstein, featuring a diverse array of figures, objects, and abstract patterns in a stark monochrome style.

This work by Dutch artist Pieter Holstein presents a grid of thirty-six distinct ink drawings. The composition functions as a visual catalogue of disparate subjects, ranging from human figures and facial profiles to abstract patterns and mundane objects, such as the saw referenced in the title. Holstein employs a stark monochrome palette, relying on the contrast between black ink and white paper to define his forms.

The style is characterised by a direct, almost shorthand approach to representation. Some panels feature fluid, calligraphic lines that suggest movement or organic growth, while others utilise bold, solid blocks of ink to create silhouettes. The grid structure imposes a sense of order upon the varied imagery, yet the individual cells contain subjects that appear disconnected from one another. This juxtaposition invites the viewer to consider the relationships between the mundane and the symbolic, as well as the nature of visual classification.

Holstein, born in 1934, is known for his graphic work that often incorporates elements of irony and conceptual play. In this piece, the repetition of the grid format acts as a frame for his observations, allowing each small drawing to exist as an autonomous unit while contributing to a larger, collective narrative. The lack of a singular theme across the thirty-six panels encourages a non-linear reading of the work. It is a study in visual economy, where minimal strokes are used to convey complex shapes or ideas. The work reflects a modern sensibility, prioritising the graphic quality of the mark over traditional representational accuracy. By presenting these images in a structured array, Holstein challenges the viewer to find meaning in the accumulation of everyday motifs and abstract gestures.