In Fugitive Memories: Contemporary Photo-Assemblage, I fuse found objects and everyday items with anonymous nineteenth-century photographs to investigate the subjective nature of memory and the elusive quality of truth. I believe photography is a tool used to document history and memory; however, sometimes it can be difficult to reconcile blurred recollections as time passes. What is more difficult, perhaps, is not only to remember the circumstances of the photograph, but the context and meaning in which it was initially taken. The lens through which one understands and interprets the visual context is often filtered through emotions, misconceptions and false impressions. Found objects, like photographs, also have a past rich with personal affiliations. There seems to be a primal instinctalmost unavoidablefor humans to instill objects with psychological, sentimental, spiritual, or historical connotations.