In order to preserve what is tangible and forgotten, I repurpose 1960’s photographs. I use the prints as source material and excise the focal image, shedding specific memories of others and transforming them into intimate abstract photo-collages which become studies for large paintings. The irregularly edged acrylic paintings marked with drips and brush strokes contrast the square, rendered imagery of the photograph. Gaps, holes, and missing figures are a near constant feature in the work. Like my own past, they signify relationships and moments that can no longer be retrieved. Formally the negative voids are as relevant as what remains.