With The Death Of Every Moment, I aim to visually represent the fallibility within the process of recollection, asking whether the machine can learn to visually replicate my fragmented encounters of the sublime. 

The objective here is to examine if the generative output shares the inherent fallibility of the ambiguous experience of remembering.

This tension within an implicit symbiotic relationship releases the responsibility from myself to record and (re)present reality, but rather it allows the work to express its potential for abstraction that could offer more of an insight than reality itself.

Through the physical generative labor and alchemical experiments of corroding metal sheets with a bottle of dead film developer as part of a corrosive mix, it abstracts notions of sublime out of the rust and salt that is produced. The erasure that happens on film because of its inactive ingredients with the dead developer is now developing decay itself on the surface of the metal.