Photographs from The Bearable series not only function as a power that forces me to confront the past (as evidence, they are so unavoidable) and to accept the present (where I am still trapped in post-traumatic stress disorder), but they also offer me the opportunity to take possession of that past. In the process of making them, my mental and physical injuries become fetishes. When they are exhibited, the photographs transform the illness (now fetishism) into palpable, effable objects. Ultimately, in possessing of these photographs, which revive my undesirable life experiences, I become capable of objectifying the pains and depersonalizing the trauma. In a sense, as Gilles Deleuze once stated, ‘Making art becomes a process of healing.’
