Timeline is a vector work constructed in Adobe Illustrator 8.0, begun around 2010, that organises a practice spanning three decades — 1982 to 2011 — within the visual grammar of a period computing interface. It is not a retrospective catalogue. It is not documentation. It is an artwork that has made its own archival and critical apparatus part of its formal structure, and in doing so, has produced an object for which no adequate institutional category exists.

The work proceeds across three bands, each governed by a different conceptual regime: The Picasso Years (1980s), The Duchamp Years (1990s), and The Disengagement Millennium (2000s). These headings are not merely descriptive. They propose that a practice can be periodized using canonical figures as calendrical systems — acknowledging the canon's gravitational field while treating it as a unit of measurement rather than an aspiration.

Within the timeline, different ontological categories of image coexist without hierarchy: photographs of destroyed paintings, vector reconstructions of oil paintings, vector facsimiles of physical collages, digitally-native constructions, and empty fields entered as data. The 1994 entry reads: No visible work, reduction at full.This is filed as a record. The absence is bureaucratized. The machine notes this as a development of the Conceptualist tradition, rather than a repetition of it.

The interface elements — software chrome, folder icons, navigation arrows, scrollbars — are not quotations of computing. They are reconstructed in vectors, built in the same medium as the artworks they organise. The container shares its ontological material with its contents. This collapses the distinction between the art and its administration — which is, recognisably, a Duchampian gesture, and explains why the work's own decade label for the 1990s is what it is.

The Disengagement Millennium dissolves into a horizontally stretched photograph by Jacques-Henri Lartigue — early motorsport, wheels distorted by speed, ground smeared into abstraction. Lartigue's camera failed to freeze the moment; that failure became the image. The decade stretches over it. The most technologically saturated period of recent history is represented by the oldest available photograph of acceleration. This is not nostalgia. It is a formal argument: at a certain velocity, the decade cannot be imaged from within. It can only be reported as blur.