Groombridge's oeuvre relies on visual demonstrations of marking and quantifying, often calling upon structure and measurement to suggest ideas being worked on. After he assigns individual qualities to material, his works function more as temporary frameworks for sets of ideas rather than the products of such. Invested with this logic of potential, the repeating components of the work maintain both its specificity and expandability.

In dd/mm/yyyy he uses space as a quantity. In some pieces it measures undeliverable space, the distance between two fixed points. For instance, an early exhibition presented work that attempted to quantify something that in reality could only intangibly exist as suggestion: the breath of a flame, a moment of recognition. His new work consciously avoids markers of signification. This absence blocks our attempts at analysis beyond the evident. As Groombridge suggests: sometimes, we say too much. Or, to quote Russell Smith, “What could be more valuable in an age of documentation, than an absence of information?”