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In this body of work, the role of photography is questioned as a tool for recall. I aim to envision and understand certain notions of distance and identity through thoughts and physically manipulated old images derived from personal photo albums. My proposal intends to reconcile visual practices, such as photography and video with the notions of emotions and distance, by mapping ideas, fragmenting or erasing memories, and feelings of belonging and identity, as I seek to relate the work with emotions such as anguish and fear to a place that is currently a blurred war-like zone: my country, Venezuela. The blurring that occurs physically in my work, occurs in my memory and can also be understood as a visual representation for how I perceive my country, one that isn´t there anymore, at least as I knew it. Memories of Oblivion focuses attention on the question of memory, while it relates both, with time passing and questioning photography as a tool for memory, as it wishes to capture a linear progression for memory/identity failing, seeking for the parallelism between photography and the brain's ephemeral condition. I am fascinated with work that treasures a certain beauty that is confusing, beauty that results from the body’s struggle to experience the vulnerability of human presence, memory and emotion.