How To Forget
Mouth Full of Blood Digital Photograph, inkjet print, red clay mud. 20”x27” 2024
She Only Hides Archival Photograph, inkjet print, red clay mud. 18”x15” 2024
Thunder Mountain Archival Photograph, inkjet print, red clay mud. 40”x26” 2023
How to Forget Digital Photograph, silkscreen. 32”x24” 2023
Inverse Pieta Digital Photograph, inkjet print, red clay mud. 36”x23” 2024
Dogwood Digital Photograph, transparency. 17”x20” 2024
Foundation Archival Photograph, inkjet print, red clay mud. 30”x21” 2024
MeMaw Archival Photograph, inkjet print, red clay mud. 18”x18” 2024
Evidence of (pre)History #2 Found concrete, red clay mud, marble, polished granite. Dimension Variable 2024
Evidence of (pre)History #2 Found concrete, red clay mud, marble, polished granite. Dimension Variable 2024
To Not See Digital Photograph, silkscreen. 32”x24” 2024
Broken Family Archival Photograph, inkjet print, red clay mud. 25”x17” 2024
Evidence of (pre)History #1 Found concrete, Zinc etching plate, black glass. Dimension Variable 2024
Evidence of (pre)History #1 Found concrete, Zinc etching plate, black glass. Dimension Variable 2024
Christened (DOUBLE) Archival Photograph, inkjet print, red clay mud. 30”x30” 2024
Rot Archival Photograph, inkjet print, red clay mud, archival fabric. 27”x28” 2024
Evidence of (pre)History #3 Found concrete, Zinc etching plate, black glass. Dimension Variable 2024
Evidence of (pre)History #3 Found concrete, Zinc etching plate, black glass. Dimension Variable 2024
REDACTED Analog Photograph, sharpie. 30”x30” 2024
William's Jacket Thread, archival clothing Dimensions variable 2024
But To Connect Digital photograph, transparency 17”x20” 2024
How To Forget was born from a need to give tangible form to the psychic residue left behind by a life lived. Through the use of silk-screening of red clay mud onto ink-jet photographs, archival textiles, and site-specific installations, I attempt to tie and/or divorce myself from my own and my family's extended history and examine the function of memory within the dynamics of the archive. How To Forget takes a non-linear, non-chronological approach to this examination, compressing decades of time and space through the manipulation of the archive and my own self-portraiture, designed specifically to deny myself from its record. In this work, I explore life-altering experiences and photographs, question my rights to make family history-changing assertions, and ultimately embrace the probability of losing these connections in exchange for personal freedom.