My most recent work is about layering time and memory and my process involves taking stills from old 8mm family films and printing them on thin translucent Japanese paper. The images are then painted and heavily saturated with encaustic wax. The wax works as a means of entombing the image, almost like amber, preserving it into an incandescent form somewhere between the projected image and the digital. The wax also lends to the surface a visceral and skin-like texture, giving it a mysterious physicality. The wax coated sheets are suspended together and illuminated in a simple lightbox. The selected stills conjure my own personal history and I revisit moments of tension or love embedded within my own sense of memory. The end result is a simple, somewhat clumsy moving image that has become a fixed surface, a mnemonic trace of fluid time.