The work begins with an old family photograph of four women from my lineage: my mother, my grandmother, and other female relatives. Onto this image I applied eye tracking software that recorded the movement of my gaze over time, marking the areas on which my eyes lingered the longest. The resulting image reveals figures veiled by stains, leaving the viewer unable to clearly perceive what was, paradoxically, most important to me.

In the very place where I wish to remember, the machine performs an act of erasure. It documents the eye’s movement yet simultaneously produces blur, deletion, and dazzle, obscuring the most precious zones of the photograph. The stains, initially colorful heat maps of vision, were processed into glowing white marks reminiscent of archival defects, traces of overexposure.

Here an intimate act of looking becomes an act of effacement through technological translation. The machine generates a new visual memory: one no longer purely human, but distorted through its own protocol, burning into the very places where the gaze once sought to remember.