EVERYWHICHWAY, 2015, film photography, sizes variable. Triple exposure images merge three instances of: roses, water, and a variable. Single images representing the multitude of (unnoticed and/or misremembered) layers in lived experience, draw forward to a singular viewing plane, a cacophony of visual information. Looking into the experience of perception, memories are placed with the present and the future. This kind of recognition of time as fluid connectivity loosens up the hard edges of both the Screen Memory concept and frame of the camera mechanism itself. By attempting to work with a constructed filter (roses, water, variable) to access memories, viewers are invited to consider the surface quality of an image as a visual field. This field used for interpreting reflective surfaces where experiences past, present, future converge, the depths and limits of memory recall, methods of understanding, psyche reformation, and a personal interpretation of narrative.