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I am interested in the edges of knowledge: the boundaries between the discernible image and visual static; between thought and silence, truths and untruths. I enter archives, where we come to decide what we know and what we do not, and attempt to tease out the ways in which the forms of our understanding contribute to their legibility, or lack thereof. The knowledge itself that I encounter becomes form and content for prints, drawings, and installations. In documented traces of missing or discarded information and objects, and through the evidence of my failed searches, my works stand in witness to the attempts we make to pass on what we know, and try to act as ballast—to slow an evaporation into the void. In my most recent works, I have been drawn to the broken glass slides once used to teach art history at the school in which I work. In their useful lifetime, these objects helped transmit knowledge as part of legible sequences of words and imagery, but in their present physicality they highlight the vulnerability of the ideas they once conveyed and the structures that maintain them. Using copperplate photogravure, I have stilled these broken fragments of glass into a record of their current form, which may continue to degrade with time and handling, or disappear entirely if they are no longer considered valuable enough to take up space. The printmaking process mediates our relation with the original images, creating space to consider what we owe them as objects, and what we might owe to those who believed they were important enough to save even in their broken state.