Machina Memoriae brings a collection of original sculpture, painting, and silkscreen made during my year-long artist residency at the Foundry, the former home to the Blake & Knowles Steam Pump Works in Cambridge, MA.

The show explores the uncertain space between memory and history and asks what accumulates, what erodes, and what remains when we can no longer tell the difference.

Taking inspiration from century-old machine catalogs and accounts of a 1911 raid on the immigrant women who worked the metal foundry, the artworks trace what survives in a record and what is allowed to disappear. Machina Memoriae sketches an alternative map of the historical record, one imbued with the impermanence and uncertainty of a memory.

The sculptures are afterimages: blurred, dimensional artifacts descended from a body of technical machine paintings, where early renaissance underpainting techniques suspended the machines between emergence and dissolution. Cast into form, the sculptures are what remains after act of conjuring: physical residue of an image summoned once, then summoned again. Retold from medium to medium, the afterimage begins to eclipse its source and ultimately becomes more real than the original. Here, painting and sculpture converse with each other, translating the source material, until the final form is recognizable but not the same.

The silk screens hold a lighter, more provisional register: faint atmospheric impressions, blurred to the edge of legibility that gesture to a time and place. The same image recurs three times across three silks, and each repetition arrives as its own original which is uniquely embellished and therefore read differently. Retold within the same medium. The same information, passed through three tellings yields three versions of the same story.

Machina Memoriae reimagines the historical record as an unstable chain of retellings, suggesting that history, like memory, is not continuous or fully legible.