Following a long line is composed of three mural-sized drawings on black coated Stonehenge paper, hung edge-to-edge. The images are in two parts. Large black and white portrait-like faces dominate the upper halves, drawn partly from photographs of the women of Logie’s matrilineal ancestry. These personalized faces are transplanted over outlines of historical and cultural references – the statue of Demeter, a Victorian figurine, and a late Neolithic stone female idol. Each drawing, made up of four vertical segments, is pinned and stitched together with red and black thread. Stories Logie’s grandmother dictated to her mother are printed in graphite over lower segments of each drawing. One story tells of Logie’s great great grandmother, a Romani traveller living in the midlands of England in the mid 19^th Century. Logie’s maternal grandparents left England in what is referred to as the third wave of immigration to Canada between 1890 and 1920. Logie acknowledges her family as immigrants, stemming from a long line of settlers occupying First Nations unceded territories in what is now called Canada. We took, uprooted, displaced.

Partly created in the mid 1990s, these drawings were cut and layered with other materials into a sculptural installation. Editing and reworking is an ongoing process for Logie, an act of recycling and a means of bringing relevant imagery back into her present practice.