The artist’s process involves working with multiple images, cutting, tearing, folding and reassembling the photographic fragments; looking for a collision of ill fitting parts that might suggest transformation or new meaning, the familiar on the verge of becoming something else, what Blanchot described as ‘unrevealed yet manifest’. Using a series of thin oil glazes the paintings are rendered with as little paint and as few brush marks as possible, reinforcing the idea of a fragile layer of pigment over a blank surface, just as in the construction of a photograph. This parallel with painting highlights for her an interesting contrast in scale between a physical thing and an idea – a literal and symbolic proximity of something and nothing.