Elegy Study (A Collapse) 13 brings together three of Dashiell Manley's most abiding preoccupations in a single, quietly commanding work. The foundation is an archival pigment print derived from one of his celebrated Elegy paintings, itself rendered in halftone, a technique borrowed from industrial printing in which images dissolve into fields of dots varying in size and density. That process is not merely formal for Manley; it extends the duration of his engagement with each image and speaks to a longstanding fascination with optical science and visual illusion. Layered over this printed ground, hand-applied ink traces a grid in shifting blue tones, each line placed by the artist's own hand, making every work in the series genuinely singular despite its origins in reproduction. The Elegy series occupies a central place in Manley's practice, functioning less as a conventional painting subject than as an ongoing meditation on impermanence, emotional processing, and the passage between shadow and light. Translating those emotionally weighted compositions into halftone introduced a deliberate remove, a cooler, more analytical register that paradoxically deepens the contemplative quality of the underlying image. The grid, a motif that recurs throughout his work, imposes structure and spatial order without suppressing feeling. Its presence here reads as a kind of scaffolding for grief, a way of holding volatile emotion within a composed, measured system. Produced on Hahnemühle etching paper and signed by the artist, this modestly scaled work rewards close attention. At 35.6 by 27.9 centimeters, it invites an intimacy suited to the vulnerability at the heart of the Elegy project. The synthesis of printmaking, optical process, and direct mark-making reflects Manley's broader ambition to blur the boundary between mediated image and lived gesture, resulting in an object that is at once intellectually rigorous and genuinely felt.