My work with Overpainted Polaroids begins with an interest in interruption of image, of memory, of certainty. The Polaroid, often associated with immediacy and documentation, captures a moment that appears fixed and complete. By painting onto these surfaces, I intervene in this assumption of truth.

The act of overpainting becomes a dialogue between what is seen and what is felt. It disrupts the authority of the photographic image, allowing subjective experience, memory, and interpretation to emerge. What was once a record transforms into something unstable layered, altered, and open.

I am drawn to this tension between permanence and fragility. The Polaroid suggests preservation, while the painted gesture introduces erasure, distortion, and reconstruction. Through this process, the work reflects on how we remember—not as a linear archive, but as something continuously rewritten.

These pieces are not about documenting reality, but about re-negotiating it creating images that exist between presence and absence, clarity and obscurity, fact and perception.