Yes, No, Maybe is a concrete structural study in typographic grid patterns and linguistic certainty. The work utilises a repetitive typographic rhythm to construct a visual monolith, creating a graphic momentum that intentionally falters at its conclusion. The piece highlights the dialogue between the precise geometry of text layouts and the tactile, unpredictable qualities of traditional stone lithography.

Originally conceptualised and distributed as a full-page offset print in Sydney’s Beat Magazine in 2002 (in a mass edition of 30,000), the work was later translated into a fine-art limited-edition print of 25 at the Bethanien print studio.