In the Suchlauf series (1997‒2005), the principle of dropouts in analog video was carried over to painting. The process of building up the layers of paint, which can be traced through the strips that drop out, progresses from image to image. Instead of the white noise of a videotape’s magnetic layer, in the oil paintings’ “interference strips” the viewer first sees the painting support itself, muslin, then the white acrylic primer, oil primer, and ultimately the wall.