Throughout both the opening Extraneous Drawings and School Sketchbooks it becomes apparent that one is privy to two separate accounts of reality. The initial School Sketchbooks content themselves with the fauna and foliage of Gravesend and rarely overlap into the medical and equine demesne of the early Extraneous Drawings, presumably undertaken in the privacy of home or the horse's field. If regarding the school and home work as, respectively, sanctioned and clandestine, public and private spheres of the same world, one delineates the boundaries that will be transgressed and reinforced throughout the duration of the collected documents. These boundaries are also divorced through a split axis of outside and inside. A further fissure in the Extraneous Drawings should also be mentioned. Whilst the majority of equine and natural representations are signed and dated by 'Naomi V. Jelish' (the V for Vanessa, her mother's name), the images dealing with her father's recurrent exertions remain unsigned. Perhaps the artist felt that more than enough of an autobiographical trace had been stained on these drawings than any signature could ever essay.
Both School Sketchbook one and two feature decorated bindings, each emblazoned with a plethora of naturalistic quotations and stickers. Sketchbook one (SSB.1) in particular issues the sunny side of a lifelong residency in the 'Garden of England', with toads, cats and manifold vegetation conspicuous amongst the dense composition. Here, one finds a visual echo between sketchbook integument and substance (unfortunately an reverberation that wanes in the second School Sketchbook).
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