Artist Statement

This collage work draws inspiration from childhood photographs captured with a Brownie-type camera in the 1970s. Photos serve as starting points for a dialogue between past and present, between the child who was photographed and the adult artist who reinterprets those photos. In doing so, the series questions the authenticity of our memories and the images we use to represent them, suggesting that both are constructs shaped by time, emotion, and the very act of recollection.

The use of the Brownie camera as the original medium is relevant because its simplicity and ubiquity in 1970s households mirrors the seemingly straightforward nature of childhood memories. However, just as these rudimentary cameras often produced imperfect images—blurs, light leaks, and washed-out colors—our memories, too,  are subject to distortion, embellishment, and selective focus. I deconstruct and reconstruct these photographic fragments, mirroring the way our minds piece together recollections. Some elements are emphasized, others obscured or altered, reflecting the malleability of memory and the active role we play in shaping our personal narratives.

The small scale of each piece invites intimate viewing, encouraging the observer to lean in close—a physical act that parallels the mental process of straining to recall a distant memory. This proximity reveals the tactile nature of the work: layers of paper and paint creating a topography of remembrance.

Ultimately, this body of work invites viewers to reflect on their own relationship with memory and imagery, to consider how they construct their personal histories, and to recognize the creative potential inherent in the act of remembering.