The drawing series, ragazze e ragazzi romani (2018), sees Grimes layer images, patterns and colours in a fluid and hyper-associative way, combining, as she puts it, ‘fragments of Etruscan porn dancing with pixelated vespas and the maid from [Pasolini’s 1968 film] Teorema.’ They are dotted periodically with repair patches, mirroring the restored frescos and stone work that Grimes encountered in Rome.