The Means of Correct Training is a montage that collides two genres of instructional imagery: corporate ergonomics and military hand-to-hand combat. Sourced from archival training manuals and workplace health brochures, the images depict bodies caught between discipline and dysfunction—submitting to authority through perfect posture or violent subjugation. Office workers and soldiers, seated and striking, are shown performing routines of correction, compliance, and control.

The composition adopts the logic of the index: a gridded arrangement reminiscent of taxonomic display systems used in archaeology, ethnography, and museology. This visual language—common to contact sheets, specimen trays, and classification charts—suggests neutrality and order, but historically served as a means of controlling knowledge, organizing bodies, and legitimizing institutional authority. Here, the grid functions as both container and critique: an archive of gestures in which the repetition of movement becomes a form of ideological training.

Gouache is applied sparingly to isolate or highlight particular poses—drawing attention to moments of contradiction, excess, or refusal. These marks puncture the illusion of neutrality, revealing the instability beneath the surface of the system. Stylized line drawings of the “ideal” body sit alongside photographic documentation, further emphasizing the slippage between instruction and enforcement, model and subject.

By conflating the corporate and the militarized, Means of Correct Training exposes the shared logics of bodily regulation across contexts. It asks what kinds of knowledge are produced through visual instruction, and whose bodies are rendered visible, measurable, or correctable in the process. Through this indexical arrangement, the work interrogates the aesthetics of control—how diagrams, manuals, and photographic archives have long operated as tools for shaping not just posture or movement, but social behavior and institutional obedience.