In Biography 2009, AbdulAziz compiles the paper targets from an arbitrary individual’s daily shooting practice over the course of a month. She then engraves a series of dots in a seemingly abstract pattern on a sheet of backlit acrylic. The dots are in fact reflective of the patterns of holes left in the shooting marks collected by the artist. Each target’s pattern is treated by the artist as a journal entry of sorts, and the dots, by extension, are treated as language meant to shed meaning on the subject’s psychological state on the given day. With this reading, the dots become infused with an imagined violence and a projected emotional charge, as the shooter’s information is channeled from an epicenter (the brain, the heart etc…) through the arm, and out the barrel of the gun.