In this study, Larsen uses a non-objective composition by El Lissitzky—who she considers an important art-historical touchstone—as a springboard for her free-associative process of constructing a composition. Here, she mirrors the diagonal bisection of one of his paintings with the extended wingspans of standing figures, stretching in the morning. This decision shifts the normative figure/ground relationship by 45 degrees, to create a scene that defies the conventions of gravity. These studies are superb examples of how Larsen utilizes both the language of abstraction and the spatial elements of narrative painting to access a more authentic form of figurative representation.