Ina Blom, in her essay Mineral Belief, describes "a form of drawing characterized by expanding and contracting webs of thin lines, dotted with scattered explosions of color as if to demarcate particularly critical points of action or intersection. For this is a form of drawing that is essentially energetic: it does not provide forms and figures as much as mobilities, precarious leaps of connection from one point to another, tense thickets of activity and slower, lonelier, lines of release. If mathematics may at times use arrows to visualize the essentially abstract properties of vectorial functions or forces, McPhee’s restless lines often seem to evoke similar issues of visualization. One gets the sense that the image conjured up is all at once a particular, individual, material composite (colored ink, graphite, paper, the skills of a hand) and a precarious, temporary, expression of forces for which no adequate, human-readable language exists. The question of drawing’s mobilities is thus a question of expressive sympathy, imitation and belief in some kind of connection or association to other mobilities, however fraught or tentative." 

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