Throughout the narrative continuum of the photographic installations, the context of the snapshot genre is examined, pointing to a commentary on the change of nostalgic notions once presented in the viewfinders of the families of the 1960’s. A connection between the cinematic and the photographic is made in Fragmented Histories. Through the experiential process of photographing the moving image, a suspension of a fragment is made to allow the stillness of a moment, to see what is not seen in the original moving picture. Through the use of multiple exposure and the dichotomy stated in the symbolic layering of imagery in Collective Distance, there is a juxtaposition in the codes of the existing family photo narrative. Complex stories allude from the re-contextualization of simple instamatic photos. Points of reference shift from the original purpose of the snapshot and now direct and attract other meanings. Distances are traversed through the collective veil of the past in reference to today. Yet through this shift, emotive qualities remain true to an intimacy which once framed the lives of ordinary people. Domestic Work examines the integrity of the photograph itself as a device to document life. The snapshots of home from the 1970’s are placed with current re-interpretations of home and domesticity in photographs of personal spaces. I am interested in the act of re-animating the early photographs, bringing attention to the dichotomy and how specifically the past has and still remains to inform my work.