While photographing in Hungary, a cache of exiled communist sculptures were discovered, aging in a forgotten field. To convey the death of communism, and the struggle of everyday life that was suppressing Eastern Europeans, each negative was concisely burned and shattered.
Each time the negatives are loaded into a carrier, the 3-dimensionality of these once 2-dimensional negatives creates a different focal point. In an image making process that is trademarked for perfect reproduction, these deteriorating negatives will create particular nuances over each edition.
Adding a third dimension to photography allows for a whole new experience in a traditional medium. These negatives became sculptures, responding to the environment, to the light. The discussion of what could be happening behind the veil of soft focus, becomes a comment on the argument of communism.