POLAROIDS

The Polaroid works combine photography, collage, drawing, text, image transfer, and physical intervention to construct images that exist between documentation and invention. Rather than presenting photographs as fixed records, the work treats them as materials capable of being altered, fragmented, layered, and reassembled.

These processes emerge from an interest in how memory, identity, and meaning are formed. Experiences are rarely retained as complete narratives, they are reconstructed through fragments, influenced by emotion, shaped by contradiction, and continually revised over time. The physical construction of the work mirrors this condition, allowing images to be dismantled and rebuilt in ways that reflect the instability of perception itself.

Polaroid remains central to the practice because of its unique relationship to time, memory, and materiality. The photograph exists as both image and object, carrying traces of its own making while remaining vulnerable to transformation. Through cutting, layering, transferring, writing, and reconfiguration, the work moves beyond documentation and into a space where personal experience, cultural narratives, and psychological realities intersect

Across these bodies of work, the image functions less as evidence than as inquiry. Each piece becomes an attempt to navigate the distance between what occurred, what is remembered, and the stories constructed in order to make sense of both.