layers of (me)mory • Series | 2020; 2021
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layers of (me)mory is an ongoing series that delves into the fluid and often fragmented nature of memory. Through different collections, this body of work explores how personal recollections shift, layer, and distort over time, creating new narratives from past experiences. The series embraces memory as something non-linear—constantly blending, reshaping, and sometimes disappearing entirely. Each collection emerges as a response to what came before, evolving organically as new questions and emotions surface. By employing monotype printmaking, collage, and other tactile techniques, these works capture the ephemeral quality of remembering, allowing the physical process to mirror the way memories form, overlap, and fade.

This ongoing series will continue to evolve, expanding into new collections as the exploration of memory deepens. By embracing both the personal and the universal aspects of recollection, layers of (me)mory serves as a visual meditation on the ways we construct, lose, and reconstruct our own histories.

This series is currently composed of three collections in total :

layers of (me)mory no. 001 (2020)

layers of (me)mory no. 002 (2021)

refracted glimpses (2021)

layers of (me)mory no. 001 • Collection | 2020
The complete collection consists of 5 unique works

early (re)collections

Composed of 60 interchangeable monotype paintings, early (re)collections captures the fluid, ever-shifting nature of memory. Rather than depicting fixed moments, these pieces translate recollection into layered colors, textures, and movement, echoing the way childhood memories sometimes surface in flashes of sensation rather than clear narratives. Each piece exists independently yet is intrinsically linked to the others, much like memories that continuously evolve and influence one another. The ability to rearrange these fragments further reflects the instability of memory, as recollections are not static but rather in constant flux, shaped by time and experience.

woven impressions no. 001 — no. 004

Created from the remnants of early (re)collections, the woven impressions pieces explore the act of reconstruction. By weaving together cut pieces of monotype paintings, these works engage with the idea that memories are never fully intact; some areas remain visible while others are obscured beneath the surface of the weave. The process of interlacing these fragments mirrors the way the mind pieces together recollections, sometimes filling in gaps and reforming souvenirs. What is hidden underneath another piece is just as present as what is seen, suggesting that memory is as much about what is lost as what is retained.

Shop the available pieces from the full layers of (me)mory no. 001 collection here.

layers of (me)mory no. 002 • Collection | 2021
The complete collection consists of 5 unique works

blended

As the foundational painting from which many of the monotypes emerged, blended embodies a history of accumulation, layering, and transformation. Over six months, this canvas was continuously painted upon, with each new layer obscuring what came before it. While the initial compositions remain beneath the surface, they are no longer visible, an apt metaphor for the way memories fade, shift, or become buried over time. Though never intended as a final work in itself, blended remains a testament to the process of remembering, where traces of the past exist even when they can no longer be fully accessed.

(dis)arranged narratives

Constructed from over 800 monotype fragments, (dis)arranged narratives presents memory as a vast collection of moments, disjointed yet structured, chaotic yet complete. Arranged like a dense network of pixels, each small window offers a glimpse into a past that has been meticulously reassembled. Unlike traditional storytelling, where narratives unfold linearly, this work suggests that memory is experienced in fragments, constantly shifting in meaning and connection. By piecing together these individual elements, the composition resists cohesion yet maintains its own rigid structure, reflecting both the fragility and permanence of recollection.

vanishing pieces

In vanishing pieces, memory is depicted as something inevitably fading, whether it be personal recollections, emotions, or the presence of a loved one. The fragmented composition reflects the gradual erosion of memory, where gaps begin to emerge, leaving empty spaces where once there was clarity. From a first-person perspective, the work speaks to the personal struggle of losing memories that will never return, while from an external viewpoint, it acknowledges the sorrow of witnessing someone else’s memories slip away. Rather than resisting this loss, vanishing pieces embraces the acceptance of forgetting as part of the natural cycle of remembering and letting go.

singular frames

As opposed to the complex, puzzle-like structures of (dis)arranged narratives and vanishing pieces, singular frame no. 001 and singular frame no. 002 isolate single moments, stand-alone fragments of memory disconnected from any broader context. These individual monotypes exist as singular impressions, capturing a specific instance without reference to what comes before or after. In framing these pieces separately from other works, the works emphasize how certain memories remain distinct and untethered, frozen in time while others blur and fade. They serve as quiet counterpoints to the larger compositions, highlighting the contrast between fragmented recollections and those that remain fixed, unchanging in the mind’s eye.

Shop the available pieces from the full layers of (me)mory no. 002 collection here.

refracted glimpses • Collection | 2021
The complete collection consists of 26 unique works

Shop the available pieces from the full refracted glimpses collection here.

PROCESS & TECHNIQUES

Each piece in this series begins as an oil painting on canvas, which is used as a monotype plate, a printmaking technique where ink is typically applied directly to a smooth surface, traditionally plexiglass or metal, and then transferred to paper. This method was chosen for its ability to create thick textures and unpredictable, one-of-a-kind impressions. Unlike traditional printmaking, where multiple identical prints can be produced, monotypes result in unique works where no two impressions are ever the same. The natural unpredictability of monotype printing lends itself to the fragmented, shifting quality of memory, capturing fleeting impressions and gestural textures.

The process starts with layering oil paint on canvas in a way that encourages rich texture and depth. Paper is then pressed into the painted surface and left for extended periods, sometimes days or weeks, before being carefully pulled apart. This delayed separation allows partially dried pigment to transfer in unexpected ways, leaving behind a combination of solidified and fragmented color. The physical force required to separate the layers introduces an additional element of unpredictability, embedding energy into the final impression.

As the process continues, new layers of paint are applied onto the same canvas, and papers are reintroduced, sometimes replacing previously used ones, sometimes incorporating fresh ones. This ensures that each piece interacts with and influences the others, with pigment being transferred, removed, and redistributed, reinforcing the concept of interconnected and evolving recollections.

Following the initial print, select works involve woven paper compositions, where separate printed elements are sliced into strips and restructured into a new whole, symbolizing the way different moments and recollections intertwine. Others undergo fragmentation and reassembly, where sections are removed and repurposed into new configurations, speaking to the fluidity and impermanence of recollection. Through these processes, the series captures how memories are layered, revised, and reshaped by time.

Each work embraces the materiality of the process itself and captures the delicate balance between preservation and transformation, much like the way memories shift, dissolve, and reassemble over time.

EDITION & CERTIFICATION

This series currently consists of three collections, layers of (me)mory no. 001 (2020), layers of (me)mory no. 002 (2021), and refracted glimpses (2021) each bearing a collection of one-of-a-kind works. Each piece is hand-signed on the back of the artwork and when framed on the frame itself and comes with a signed certificate of authenticity including an image, detailing the title, materials, and date of creation.

ARCHIVAL QUALITY

All materials used in this series are carefully selected for their archival properties, ensuring the longevity of each work. Archival quality means that the papers, paints, adhesives, and supports are acid-free and lightfast ensuring long-term durability. These choices preserve the structural and visual integrity of each work over time, allowing them to be appreciated for generations to come with proper care.