The collection of writings that I put forward here are a personal interpretation of what a critical reflection, in a practice-based artistic research project, can be. They represent an attempt to evidence the learning process that I have undergone during the last three years, in particular to illuminate the relationships between some of the terminology that I have encountered, and the artworks that have been associated with them. Since I have engaged with different reflective angles and different reflective strategies at different stages in the process, I have decided to submit a collection of texts, and one video, instead of a unified research paper. As is the case with many of my colleagues in this programme, I have found it challenging to navigate the tensions and doubts concerning the form, language and tone this critical reflection should use. There is always the risk of being too academic, or too anecdotic. There is also the risk of favouring an evaluation based on personal growth beyond the ambiguous, but no less significant, standards of the “art world.” As an artist without training in art history, art theory or philosophy, it can also be difficult to ensure that some of the more complex ideas are embedded with the rigour and historical awareness that their traditions demand.