repurposed vintage wooden and tin dollhouse, archival pigment prints from pinhole photographs, coated colored wire, 38H x 16W x 18D in (96.5H x 40.6W x 45.5Dcm)
For What Remains, five photographs from the original series accompany a wooden dollhouse. A cut through one wall creates a visible wound, sutured with wire rather than concealed. Small photographs from The Afterlife of Dolls fill its rooms, “framed” by slices of photographed walls from vintage metal dollhouses, suggesting that memory itself is constructed from remnants rather than recovered intact. Returning to this work more than twenty years later, I understand it differently: mourning requires acknowledging what has been damaged or lost before repair can begin.
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