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Inspired by the Farm Security Administration’s 1930s practice of censoring images by physically punching holes in negatives, this project reactivates this gesture by progressively altering the image surface until information disappears and images break down ; violence is no longer represented but enacted on the photographic material.
Echoing Sontag's and Butler's shared concern that images may lose their capacity to produce ethical or political engagement, this work investigates the relationship between images, information, and destruction, as well as how violence can be embedded within media representation, suggesting that excess can become erasure and that visibility itself can fail.
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