In Markers (2018), I am tapping into several techniques, visual elements, contexts, and concepts. First, I am playing with natural light as a means to situate the site-specific assemblages within a “real place”. I am using color, pattern, and line to denote the spirit of Miami architecture. I use photographs and xeroxs of real materials and bits of buildings to symbolize the falsehoods or facades of the built environment. My response to the lack of concern in ecological concerns is practical in that these pieces can potentially serve as markers of sea elevation. My response is individual and a miniaturization of the materials and buildings. In reference to her project Echo, Bettina Pousttchi states that a building has, “illusionistic space that they create shows the nature of photography at various levels; it has to do with preserving- it’s a documentary medium; it is also a memorial medium; and, in a certain sense, it’s an illusionistic medium” (137) in a sense this series encapsulates this argument. Which is why, I aim to explore historical, personal, and conceptual contexts. The historical being the place in time as it relate to the region’s state of ecological precarity. While speaking about the personal experience of growing put in a family that accumulates a lot of stuff in response to potential economic precarity. While addressing this notion of photography being a medium of illusion, memory, and preservation. Because I am interested in investigating all of these different ideas the work can be dense and difficult to decipher. I am currently trying to establish a strategy that invites viewers in vs. facilitates the dismissal of this work.