In 2016 I was mainly concerned with the dissociative nature of art and fiction. My dissociation was manifested in the denial of my photographic practice to incorporate the goings-on in the world and an incorporation of voices. Without connection to the world, there is violence in art.

How is showing art to the public an advertisement to certain values or peoples? Why dissociate and recede into a fetishization of art? More pointedly, how is the art that draws attention to its own devices (meta-) just a fetishization of whiteness?

Family has been the most important part of my American upbringing, but during the making, I was thinking about my privilege of having family to lean on. And in my hard reliance and normalization I start to realize valuable splits, rifts, or shifts that I can open up to the possibility of a different scenario. The possibility of different moments, different futures, different relationships, even a different family, fictions and non-fictions, to be combined into one collective moment and presented as such.

Considerations now combine the fetish of photography (dealing in color, scale, visual trickery, and other 20th century artistic past times) with a vision of a collective familial engagement and framing to re-show the work today. Revising this for 2020 is a call for me to deny a self-minded approach to photography and engage once again, with a collective