Inspired by the motion studies done by Frank and Lillian Gilbreth with the intention of learning how to make tasks more efficient for workers, and my own experience living with multiple movement disorders, I explore what it could mean to record involuntary and purposeless movements using methods that echo their process. Tics and jerks by their very nature are not efficient and cannot be. They must be done the same way each time to relieve an otherwise endless painful feedback loop. As they have no aim, they cannot achieve an objective faster or with simpler methods. These movements mark me as other–as someone who cannot conform to standards of behavior in both the workplace and public life. This work responds to and rejects able-bodied notions of efficiency and normalcy, instead inviting the viewer into spaces in which time and space bend to accommodate the disabled body. Bold, precise lines inscribe practiced motions onto the canvas–their simplicity distancing these gestures from their bodily origins. By focusing on depicting only movement across a plane, I ask the viewer to consider not just my movements, but to reflect on their own as well. My new motion studies function as a way of regaining control over how my movements are perceived while at work, in public, and in medical spaces. These paintings propose a less invasive, patient-lead method of recording the disabled body in a world where coaction between the medical establishment and the public directly contributes to my continued ostracization.