family snaps are a vehicle for the image to access our homes and lives and muscle in on the discourse of collective memory through their bogus claim to being evidence. the image is an empty husk of life entangled and animated by us, cleaving as we do to its distorted reflection in summoning up aspects of our past around which our identities and family myths precipitate. the image is a lure through which we forge a certain concept of ourselves, the photograph a compromised storage/retrieval system delivering an instant in time. the full (impossible to achieve) context is excluded. this frozen moment has its own metabolism as it fades or its style becomes dated which in turn seeps into memory framing it in a particular period. these photos emerged from a box of jumbled snaps with few surviving negatives or captions to locate them with any precision. corners are ripped off being removed from albums. the photographer, the surrounding events, the particular history of a moment when the image was seared into being is lost. the narrative is subject to further extemporasitions. the images have survived the people that made them and superseded their recollections. the shutter clicks, the damage is done.
images scanned directly off some negatives for which there are no prints and digitally inverted to create the positive. a subset of discarded and recovered images, their diminished quality like imperfect recall or the inherent failure of the image.
the police rest house mombasa