Anamnesis means remembrance or reminiscence, the collection and recollection of what has been lost, forgotten, or effaced. It is, therefore, a matter of the very old, of what has made us who we are. But anamnesis is also a work that transforms its subject, always producing something new (Harman, G, 2011).

​

My fascination with decay, ruins, and the ephemeral likely springs from the interplay between the familiar and the uncanny, from the tension of a single moment set against the vastness of time. Though seemingly enduring, human structures are fleeting surface modifications, temporary assemblages of matter destined, one day, to be reclaimed by the Earth itself.

​

Ruins allow us to see human life obliquely, much as an archaeologist peers into the past through fragments and traces. Both art and archaeology are, at their core, physical pursuits, rooted in the tactile engagement with materials and the persistent reminder of our embodied presence within the world. Anamnesis (2020) takes shape within this intersection, visualizing the language of painting, entropy, and archaeology to explore the delicate endurance and eventual dissolution of all things.

​

​