A refusal to sacrifice multiple virtual forms into a single actuality is the impetus behind Remnants, a pairing of a sewn abstraction in fabric and its photographic sibling; each preserving equally valid alternative compositions derived from piling fabric below a camera. One photo was printed on cotton and stretched over foam, another was recreated out of the materials depicted in the image. The photograph pulls apart the neatness of the seams and the flatness of the stretched fabric, seemingly reviving the materials in their three-dimensional form, though the rippling fiber collage has more volume. Though superficially different, the two vectors of the work are both indexical reductions of the mess of fabric; ironically, they reduce in opposite ways. Alone, the photograph is simply a depiction of a heap of fabric, and without the photograph the sewn collage might lay claim to being finished – fully intentional, without reference to anything beyond what is present. But in this final arrangement both parts point to an unseen protean mass of cloth, which can only be imagined through the synthesis of what is shown.