This body of work presents new conceptually based installations in which the artist has deconstructed a date

book belonging to her father from the year 1995.

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Using her exemplary photoshop skills, Anderson has painstakingly separated a year's worth of handwritten words from the manufactured pages of the date book on which they are physically preserved and reshaped them into compelling new forms that challenge our perceptions of time.

When separated from their original context, these handwritten fragments shift from practical record to material residue. Crossed out entries expose moments that briefly existed as possibility before disappearing. Empty days mark time that passed without inscription, resisting memory. The hand remains visible even where meaning has been negated or withheld. Across the works, time is treated not as linear chronology but as lived duration - uneven, finite, and incomplete. Words accumulate, repeat, or fall silent. Meaning emerges through absence as much as presence.

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By spatializing a single year and dispersing its contents, the work proposes time as something encountered physically and perceptually, rather than measured. What remains is not a portrait of a life, but a structure of temporal traces: handwriting as evidence of presence, erasures as visible

loss, and gaps as unrecorded duration. The work holds time not as objective history, but as what lingers materially, through traces, erasures and gaps, after it has passed.