While in Belgium, Nicholas began to think about the complexities of archives of different kinds, including collections of valuables and databases of images. Such archives are often limited, screening out that which is deemed marginal. Entities within them are subject to degradation and distortion, physical and digital. Turning to the patchy archive of Vogue Runway, Nicholas selected photographs of Van Noten taken during runway shows. He drew and painted on silkscreen mesh using watercolour crayons and pencils and graphite, then pulled monotypes, consciously eschewing the print’s typical status as a multiple and creating a sort of uber-grail. Unlike conventional silkscreen prints, which are characterised by crisp contours, layered planes of colour, and a sense of control, Nicholas’s works are marked by glitchy smears and unpredictable textures. Richly gestural and palpably spontaneous, they draw attention to the hand of the artist. The images themselves focus on the hands of Van Noten, which appear by turns elegant and meaty, expressive and lifeless. Nicholas calls to mind diverse connotations of the hand—the hand of the master, for instance, the many hands through which an item might pass—and reminds us of the primacy of the hand in traditional printmaking and garment-making alike.