My series, Screen Memories, adapts monoprint as a way of formally deconstructing the connection between my familial photographic archive and how I understand the process of my becoming a person. For each piece, I start by drawing my selected source image in charcoal on vellum. I then flip this drawing and place it beneath a glass printmaking plate to use as template (or “negative”) for 7-8 subsequent layers of acrylic, oil, and oil pastel contact prints. Before hand-pressing, I treat my paper with various solvents and mediums so that my brushstrokes (as traditional signifiers of artistic subjectivity) dissolve into the fractal texture of my prints – blending disparate moments of “painterly” expression into a style that hovers between its technologically reproduced source material and the paintings which my process necessarily destroys.

In reflecting on my family’s photographic curation of its past, I realized there was an interesting story to be told between my family’s photographic construction of its history and my retrospective understanding of that history. Seeking to move past notions of time that treat the past as an objective sequence of events, I developed my printmaking practice as a way to inflect my photographic past with the subjective texture of my current, distinctly trans perspective on records which were made of me – not by me. By leaning into the random nature of hand-pressing and adapting my medium to accentuate the slow decay between ghost (or "secondary") prints, my suites of images visualize a novel form of intersubjective, trans historiography in dialogue with my appropriated photographic likeness. 
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[updated 09/27/24]