The greatest failure of photography is its inherent nostalgia. It forces us to constantly look backwards, filling present voids with imperfect depictions of the past. Photographs are objects that promise something permanent yet their very existence is a direct result of how ephemeral the experiences they represent are. They fall pitifully short in capturing the essence of what they want to represent, yet we still expect them to do it. My work, while stemming from the intimate experiences of an individual, investigates our relationship, expectations, and attachment to the photographic image. Each photograph asserts itself as a permanent document while also exposing the failure and impossibility of preservation. The images are pragmatic and direct, photographed with an objective distance that hovers between the intimate and the analytic. I’m interested in questioning why we both need and want these images and where the line is drawn between these two ideas. Documentation of past realities can be reflected on with both sorrow and eagerness as the presence of such images presents a glimpse of our past, present, and future all in one moment. The expectation that photography can conserve our presence in the world is undone through sequenced images of fractured ice, ailing pets, and the nostalgia of vernacular images and documents.