Drawing and sculpture merge in Mogul’s polychrome wood relief portraits. Drawn, cut, screwed and glued, the figure emerges from the construction that takes place. The visibility of successive layers of paint, wood, cardboard, or paper reveals the working process. While she accepts portrait commissions, the majority of portraits are of her own family. The familiarity with these relations has allowed her to delve beyond surface appearances. Simultaneously, formal considerations of the figure in space and time engage Mogul’s attention. The internal oscillation between the visible and invisible, proximity and distance, and appearance and disappearance influence the finished work.