Memory weighs heavily on the minds of those who fear being forgotten. The nuances of the good, the bad and the ugly in familial lives extract and remove meaning simply because memory is shoddy at best. Each of these images takes a blade to memory by carefully cutting out the subject. By removing the subject, an emptiness can be filled.
All the photographs used are personal family photographs ranging from the 1920s to the 1950s. The cut-out photographs are adhered to vintage postcards, signalling a desire of being elsewhere or dreams of another life. The tiny knife used to slice through the sepia toned photographs speaks to the wounds of history; what is remembered and what is forgotten.
These family photographs were all shot in Toronto, often around Jones Ave. The postcards are from around the world; these were found in the garbage after an elderly neighbour passed away. By using personal history (the photographs) with found history (the postcards), the architecture of images addresses urban life and the passing of time as well as structure; the structure of city vs rural, memory vs forgetting, truth and fiction.