Recognizing that her process consistently dealt with performativity, but always in the dark, Karapetian began to observe the trappings of actual stagecraft. This influenced her to begin to work with multiple light sources for her photograms, creating images that record her sculptural negatives at the same time and place, but from different perspectives. Her father was diagnosed with cancer at this time, and was practicing his drums in her studio; she spent time with his drum kit, rebuilding a model of it according to a skeletal, transparent logic of light but preserving his kit's specificity of scale and arrangement. With this negative and others, including the actual marks of his performance on the skins of his drums, she built a body of rhythmic work almost synesthesiastic in its accomplishment.
Further images available upon request.