LAST SEEN as a body of work, fits between several dualities: presence and absence, internal and external thought processes as well as preservation versus entropy.

These sculptures showcase found film negatives unprotected to the outside environment yet surrounded by materials of protection. Functioning partially as singular light boxes attached to electrical plugs, they highlight the value we arbitrarily attach to objects and the way we define meaning. The presence of film has always carried heavy monetary and emotional value to it in the 20th century yet we are now faced with the near extinction of it.

Film photography represents physical proof of the existence of information, It’s blackness represents the burden of reality and the hard facts. Exposing it to the public is accepting reality as it is seen through the lens.

Displaying film and negatives to the public is showing proof of reality, of time and moments that you maybe wish had not not happened. Physical negatives an extreme acceptance of the past, either immediate or distant. This body of work sparks an internal discussion of the meaning associated with materiality, where it comes from and it's value in the present in relation to the past and in relation to found portraiture.

Medium: LED lights, isolation foam, motion sensory light,halogen light, multiple types of foam and processed film.

Titles by piece:

- (Untitled) A Single Generation 44x19”
- (Untitled) Alone by the Sea 18x16”
- (Untitled) Clocks and Couple 18x25”
- (Untitled) Brokeback Mountain Trailer Reel with Support Collar and motion sensor light. 11” diameter
- (Untitled) The Family’s Pet 15x35”
- (Untitled) Chemically Erased 35mm sown film with Fur 10x10”
- (Untitled) Poorly Processed 120mm film with Bandages 36x4”

Light Sculpture Installation (2016)