"Somewhere someone is crying, Someone is trying to be so brave, But still the world keeps turning, Though all the children have gone away" - Some Mother's Son by the Kinks, 1969

The precise moment when catastrophe strikes...when bombs explode...that moment when lives are forever changed. These images are captured and proliferate our news and social media. But these moments are mediated by proximity. Proximity is the single most important factor that dictates our level of detachment. It is through a detached lens that I have witnessed images of atrocities as documented by war photographers, security cameras, and first-hand eyewitnesses.

In this body of work I investigated and observed digital images of war and destruction through tedious manual extraction and alteration. The resulting omission of image reactivates the scene and forces the viewer to use their imagination to fill in the void. The carefully extracted missing part amplifies what is absent and present and prompts a new way of looking at and considering what we have become desensitized to viewing. It articulates the reality left by the aftermath of war and leaves the viewer to question how that void is to be filled again.