In Yes, No Bins, the traditional etching process is handed over to the repetitive motions of institutional routine. During a residency at the University of British Columbia’s Printmedia Research Centre in Vancouver, etching plates were mounted to the wall, where they were scarred by the lids of recycling bins over the course of a day.

The resulting marks document the friction between human instruction—signage dictating exactly where a bin should sit—and the reality of its use. As Hawrysio herself notes, the work finds a certain humour in “the first world’s over-developed sensitivities whereby even the precise positioning of a dustbin takes on obsessive and incantatory importance.”