Just as an embassy may be considered a chunk of national territory on foreign soil, then perhaps the surface of the visa application document itself can be thought of as provisional State real estate, a membrane of natio nhood of which a potential citizen might be carried into a new life. 

The official text and layout of the documents provide a formal scaffold on which to hang drawn fragments of personality. Applying for citizenship by drawing pictures, a universal language, seems good policy.

These works talk about variable authenticities and attempt to highlight a dichotomy between official records and personal expression. Perhaps a correlation is encouraged between factual data and the more idiosyncratic veracities of drawing. As the dude on the street is wont to paraphrase the immigration officer: “Are you for real?”