This bachelor essay presents some aspects of Sunniva Ingvarssons painting process. 

Comparing the painterly act with writing (about the field of her practice) the text aims to grasp some outlooks on the use of words or verbal contentmaking connected to a nearly nonverbal expression. 

The painted gestures and markmakings are being discussed as meaningless in a meaningful way, arguing whether the parameters of the established should be taken in consideration in the artistic research, or not. 

Based on subjective experiences and some readings including Susan Sontag, Judith Butler (and Friedrich Schlegel) there is an aim to make the reader understand the eventual importance of the un-validated thoughts art possibly can consist of, with permission of only the artist.