In Absence Of began with images of bombings and explosions gathered from online news coverage. The images were enlarged and then printed on archival paper. X-Acto knives and other blades were used to cut away the opaque forms of the bomb clouds. Following their irregular contours by hand could take days for a single print.

The process transformed an instantaneous act of destruction into slow, meticulous labor. Once a bomb cloud was removed, the absence became literal: the wall, light, shadow, and surrounding space were visible through the opening where the cloud had occurred.

The extensive removal of material also made the works increasingly fragile. After several exhibitions, the prints could no longer be safely handled or installed and were ultimately destroyed. The series now exists only through its documentation.

The works consider how images of violence, war, and catastrophe are framed, circulated, and consumed at a distance, while holding open the space between an event, its representation, and the viewer.

The white areas visible in the documentation are openings cut entirely through the paper, not digitally erased portions of the image.