I made these by enlarging and copying very coarse scans of photographs made in the 1940s, in the South Pacific during WWII, onto very delicate, light blue tissue-like paper used by a 1960s era Thermofax copy machine. I was interested in the role of photographs themselves being the spoils of war, and how the physical and optical characteristics of the finished pieces might invoke and simultaneously challenge the notion of memory. The over-the-top pixelation made the pieces borderline abstract when viewing them up close and I was interested in how the physical delicacy combined with the "different viewing distances yielding different readings" of the pixels would affect the authority of the photographs. That proved to be a plus as to my interests about photographs and memory...because the further one moved away in space, the more clearly you could understand the image, probably a handy and equal rule of thumb for how it worked to view a photograph over a period of time, close to the event, and many years after. But move too far away, and the image is misunderstood again.