Retrograde speaks to a process of making by which the image is fashioned out of its own erasure. Examining the conceptual underpinnings of subtractive processes, such as those brought forth by the monotype, this exhibition hinges upon the viscerality of negative image spaces, and the fragmentation of pictorial forms broken and pieced together backwards. Such fragmentation becomes the structure for unstructuring the image, existing as a framework for deconstructing both subject matter and artwork. These works coalesce to form a dialogue between the static and dynamic by challenging notions of completeness. Here, erasure becomes additive where the process of eliminating one work becomes the very thing that ignites the next. Retrograde questions the afterlife of an artwork by asking what happens after it has been printed or ‘finished’? How can it live on?