Connecting lineages of stain painting and textile dyeing and design, Gualdoni complicates field painting space by incorporating patterns painted on the backside of the canvas, creating a metaphor from the seepage of paint for the impermeability of boundaries. She reiterates patterns onto objects in disconnected fragments, reflecting a shift from regular intervals to an irregular perception of time, where minutes can flow and alternately collide at varying perceptual speeds. These textile patterns, sourced from early-20th century women artists such as Sonia Delaunay or Barbara Stepanova, take on architectural scale and form the backdrop for interiors and table-top tableaux. As these women artists, some from the Bauhaus school, worked both as painters and as textile designers, Gualdoni places equal emphasis on their genre-blending careers as on their insistence on inserting lived experience into the constricted categories of fine art.