This artwork is a reflection of a photo-biographical archive. It includes references to Melanie Klein’s “the good object” (photographs of college, friends, and gardens) and “the bad object” (photographs of her mother, and father´s factory).
The archive accumulates the artist's analog photos into a single work, where each image nevertheless stands out on its own (having their own imagetic and reflexive independence). The motifs are repeated cyclically. They are finally broken down and, multiplied into different ways of contemplating the theme conceptually and visually.
The artwork uses photography integrated with engraving as an anti-aesthetic alteration of the image that accentuates its manipulative qualities.
Using the process of roughly marking out by use of aggressive scratching (as if drawing in dry point) the photograph is transferred onto the metal plate. Although, the images are transferred, there is also a contrary effect in the process. The transfer destroys the image leaving only ghostly and fragmentary remnants of the initial image matrix.
Through the dissolution of the image, the metallic plates gain a new body ("forgetting" or distancing the primary photograph from the archive).
In a second instance of printing the plate is taken to its extreme through the repetition of printing the plate. The image becomes entirely abstract, often losing any similarity with the original photograph. The repetition of printmaking thus erases the image.
The attempt to reproduce (or in a symbolic way, to remember it by its repetition) the image, in this case, results in the opposite effect by gradually becoming more abstract.
