Doorway

Ugly Memories features works drawn from a digital archive: scenes, simulation caches, setups, and project files collected over the past decade. All pieces are moments of the Ugly project—fragments that were kept, revisited, or left unresolved. They share a technical origin in simulation, but also reflect something more personal: traces of a process, a mood, or a situation remembered. What is stored isn’t just data, but a kind of imprint, both from the artist’s perspective and potentially from the viewer’s.

While varied in format and tone, the works share a certain attitude: they trace moments when the everyday falls into something strange, fragile, or unstable. These are not stories, but simulations—staged situations where something is tested, repeated, or simply left to play out. Some touch on the banal, others drift toward the surreal, but all carry a kind of unresolved energy, like memories revisited without conclusion.

Presented together for the first time, the pieces sit next to each other like entries in a notebook: partial, looping, sometimes absurd, sometimes quiet. Ugly Memories refers not only to the visual world they come from, but to the act of keeping them—stored in the computer’s memory and in memory more broadly.