(An)Other: As If I Don’t Know My Name assembles fragments from my family photo archive alongside images from broader Black cultural and visual histories. Family photographs, racialized imagery, and images of violence, joy, and intimacy are removed from their original contexts and reconfigured to examine how Black identities and histories are constructed, disrupted, and reclaimed.

By removing these images from their original contexts, the work explores how histories and identities are reconstructed, misread, and reclaimed. Images initially created to document, categorize, or harm Black bodies are repurposed and reassembled, shifting their function and destabilizing their authority.

The work is made using solvent and gel medium transfers. Each image is handled repeatedly by hand through rubbing, pressure, lifting, and erosion. This process introduces abrasion, loss of detail, tearing, and partial failure, with the final image shaped by material resistance and physical limits rather than an emphasis on perfection or legibility.

The resulting material instability reflects the delicacy of memory and historical record, allowing images to hover between legibility and disappearance. (An)Other: As If I Don’t Know My Name considers how freedom can be practiced through the reworking of images, and what it means to claim authorship over representations that were never meant to be held, protected, or reimagined.