Behind
closed eyes

When the eyes close, the world does not disappear, it gives way to something less certain. Fragments surface, details soften, and experience begins to reconstruct itself, leaving behind not the accuracy of what was seen, but the emotional truth of what endured.

Each work begins with a found figure removed from its original context and reduced to a simple arrangement of body and color. From there, the image passes through a sequence of photographic translations before arriving as a Polaroid. These repeated acts of reconstruction are not simply a means of producing the final image, they are the conceptual foundation of the work. With each stage, visual information disappears while new imperfections emerge. The image moves further from its source, much as memory shifts each time it is recalled.

As the figure becomes increasingly abstract, identity and narrative begin to dissolve. Faces remain unseen, bodies lose specificity, and the images resist description. Rather than documenting individuals or events, they function as emotional portraits, images that preserve the sensation of an experience after its details have faded. Their ambiguity invites viewers to inhabit the work through their own memories, associations, and emotional histories.

The Polaroid is the final stage of this transformation. Its unique physical surface, chemical unpredictability, and singular presence introduce another layer of alteration, reinforcing the idea that memory is shaped as much by time and process as by the original experience itself.

Rather than asking what a photograph can faithfully preserve, these works ask what remains after an experience has been repeatedly remembered, revised, and transformed. If memory is not an archive but an act of continual reconstruction, perhaps emotion is its most enduring trace.

Limited edition prints available upon request.