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 #001, 2020

layers of (me)mory #002, 2021

refracted glimpses, 2021

early recollections

Composed of 60 interchangeable monotype paintings, early recollections 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 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 #001—#004

Created from the remnants of early recollections, the woven impressions series explores the act of reconstruction—both physically and conceptually. By weaving together cut pieces of monotype paintings, these works engage with the idea that memories are never fully intact; some elements remain visible while others are obscured beneath the surface. The process of interlacing these fragments mirrors the way the mind pieces together recollections, sometimes filling in gaps with assumptions or emotions rather than exact details. What is hidden is just as present as what is seen, suggesting that memory is as much about what is lost as what is retained.

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 frame #001—#002

As opposed to the complex, puzzle-like structures of (dis)arranged narratives and vanishing pieces, singular frame #001 and singular frame #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, 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.

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 in a way that encourages rich texture and depth. Paper is then pressed into the painted canvas 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 materials. 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.

SIZE

• Works within this series vary in scale, ranging from small intimate pieces to larger compositions.

EDITION & CERTIFICATION

This series currently consists of three collections, layers of (me)mory #001 (2020), layers of (me)mory #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 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

The materials used in this series are carefully selected for their archival properties, ensuring the longevity of the artwork. Archival quality means that the inks, papers, and adhesives are acid-free, lightfast, and resistant to degradation over time. This ensures that the artwork retains its vibrancy and structure for generations to come with proper care.

• Oil paints are lightfast and fade-resistant, preserving the vibrancy of the pieces over time.

• Canvas and papers are acid-free, preventing yellowing and degradation.

• Collage elements and adhesives used are carefully selected to ensure long-term stability without compromising the integrity of the work.

ARTWORK CARE

To preserve the quality of the artwork:

• Keep the piece out of direct sunlight to prevent fading.

• If framing, use UV-protective glass to further safeguard pigments against environmental damage.

• Avoid excessive humidity to protect the paper from warping.

• Handle the artwork with clean, dry hands to prevent transferring oils to the paper surface.

SHIPPING

Each artwork is carefully wrapped and packaged in the studio to ensure safe transit. Shipping includes:

• Tracked shipping within two weeks of purchase.

• International shipping available; additional delivery times and customs fees may apply.

• For rushed orders, please contact in advance to arrange expedited shipping options.