“Negation” began when a friend’s negatives burned in a fire, turning loss into a question: how does a supposedly stable negative respond to destruction? I began burning my own negatives, then reprinting the charred fragments as photograms. Scorched edges, holes and blurred figures turn fixed records into unstable traces, a visual field where memory appears fragile, shifting, and always caught between presence, absence, and slow erasure—each print a small proof that every loss can generate a new image.