Anna Tahkola’s (1983) dominant mode of articulation is pencil on large-format paper. In her drawings from the last decade as well as in her most recent body of work, the two categories of work represented in Kohta’s exhibition, ‘among, within’, Tahkola shows us different ways to interpret such fluidity. At times she conveys the sensuous physicality of a water surface, as in Heaven, Heaven, Heaven (2013) with its floating male nude. More often she focuses her own attention, and ours, on the reflections of nude female bathers in the water mirror offered by a pond or lake, in which ‘distortions’ are treated as the real thing without usurping the reality-effect created by graphite representation of bodies.