She / Me / US

— Cyanotypes on Arches Platine, Thread, Fabric, Tapestries, and Jaquard Silk—

She / Me / US (2024–Present)
She/Me/US reflects my experience sustaining a relationship with a loved one living with memory loss. It emerges from the fragile negotiations of presence and absence—how to remain connected when names dissolve, stories collapse, and time fractures. Through cyanotypes, woven tapestries, fabric, and photo columns, the project transforms the family archive into a material exploration of memory’s unraveling while affirming what endures: connection, presence, and love beyond recall.

Cyanotype is the central visual language. Its deep indigo tones, ghostly presence, and ties to early photography echo memory loss, where distant memories remain vivid while recent ones quietly disappear. Hand-drawn lines and stitched threads move through the images like neural pathways—looping, wandering, and unraveling—tethering the past and present between her and me.

Embrace is a 14-foot photo column printed on Jaquard silk, a lenticular-like construction lets two photographs shift as viewersmove through the space—one of her as a grandmother with her grandson, the other of her as a child with her owngrandmother. The generations converge: the past becomes present, and the present folds back into the past.

The woven tapestries extend this transformation. Older photographs remain largely intact, while more recent moments progressively unravel, thread by thread. Loose strands gather beneath each work as a visible record of what has slippedaway. Hand-drawn lines and stitched threads move through the images like neural pathways, tethering past and present.

This relationship between photographic preservation and memory has become increasingly urgent as photography undergoes another transformation, in which images can appear photographic without ever originating in an encounter between camera, subject, and world—reopening questions of evidence, authorship, and the real. My work approaches these questions from another direction: what happens when the encounter was real, the photograph remains, but the memory does not? She/Me/US asks where the meaning of a photograph resides—in the image, the object, the memory it evokes, the person who recognizes it, or the relationship between them. I use photography not simply to preserve what is disappearing, but to examine what preservation means when time, memory, and recognition are themselves unstable.