Although incidental references to such notational factors as writing and musical notation recur in his work, Grigorian is principally interested in texture, structure, and muted coloration, that is, in the color and shape of paper-from fine letter paper to parchment-itself. He achieves a relatively uniform (if still vital) "skin" by layering, treating, and scratching away outer layers. Not preoccupied with qualities of weathering, he still subtly depends on them to achieve tonal balance from area to area. The bigger the work, the more it becomes a map or topography, regions defining themselves and roads and borders emerging to connect them. Color, even in the most decorative arrangements, enters quietly and maintains a respectful subordination to composition.