This series uses appropriated photographic images and other elements that have ingested a part of them as a source material. Gathered into a collection over a few years, they have already been broken down, processed and reconstituted many times, circulating freely in dematerialised form and commonly encountered elsewhere through commercial modes of production and display.

Before being appropriated, the images composited in this series are overloaded with signs that point towards other visual tropes, saturated with specific codes, dialogues and clichés. The fields from which these images are sourced frequently take from and refer to one another, absorbing and assimilating content in order to build meaning into their own. Works in this series aim to describe a set of relations that technology has to images in its involvement within this cyclical, authorial process, calling into question their mutability. If images that are constituent of digital forms are fluid to perception in their transmutability, then what appears as realistic, meaningful or otherwise stable within them, over time, is constituted by ideological as well as technical forces acting on and determining the processes through which images come into being.

This series also uses processes that rely heavily on AI-driven tools and methods of erasure, to transform the material the images begin with when they are sourced. Their ‘original’ content, made absent or otherwise reconfigured, opens an immersive, non-determinate space in the image, previously foreclosed by its various iterations—intentionally trying to work against the reification (or naturalisation) of weighted meanings these previous versions carried with them. The image retains something familiar that cannot easily be identified, and something that anticipates being once again imprinted and transformed through various encounters, through recognition or resemblance. The enactment of this process gains performativity. 

Aiming to be responsive to the cyclical processes in which these images are formed, the series is also screen-based, utilising predominant modes of commercial, consumer display technology, such as OLED advertising screens and modified light-boxes, to both display and constitute work. They absorb and appropriate use of these visual hardware that have become so deeply embedded in the ordinariness of the familiar visual landscape.