The Achadiyas propose to consider the medium of drawing as one that can be about an accumulation, as a series of marks made by many over time. The “achadiya” or the heavier industrially produced cotton is pinned to the long print beds of Ajrakh block printers working in the desert region of Kutch, Gujarat, where I have been working with craft persons and artisans (karigars) since 2018. These achadiyas or drop cloths absorb the residues and excessive resist that seeps through during the block printing process, and are a record of the action and sound of wood blocks as they repeatedly stamp the cloth. The achadiya is the material that is never meant to be seen, celebrated, or considered as something of value, what I liken to a diasporic experience. When dyed in indigo, residual marks of Ajrakh motifs and my motifs from Le Corbusier’s Mill Owners’ Association Building) are revealed and create a self-generating composition of a layering of marks, traces, and ghost prints made by several hands working over these surfaces. In response to the revealed prints and residues, I have then applied mirrors on the achadiya, almost drawing with them and creating a surface that creates reflection and carries light. The use of these mirrors is influenced by the craft of mud-mirror work (lippankam) of traditional adobe homes found in the remote regions of Kutch where artisan communities live and work.