Sancaktar tackles image-making as an act of fluid remembering. This series contains studio photographs that show constellations of an unnamed photographer’s slide-holders. The eponymous series of clinical still-life photographs featuring birds-eye views of empty, marked-up slide-holders are in Tetris-like arrangements. Arrows, notes about light, and circles and rectangles scribbled on the clear plastic windows all refer to absent images.Creating a new vista from these voids, Sancaktar deals with these frames that no longer host images but rather function as referents. Sancaktar highlights the tension between the freezing act of photography and the flickering, subjective nature of viewing these constructed, fragmentary images. Sancaktar’s various (re)configurations and the recurrence of some of the slide-holders across multiple photographs point to the constant realigning and reshuffling of images to construct new forms. By only using the frames of images, Sancaktar self-reflexively points to the act of framing and claims her position as that of a framer. The artist’s creation of gaps, between the original and the copy, between the past image and its current reconfiguration, point to the inevitable fallibility of memory; but for Sancaktar, the act of removal and diminishing can nonetheless frame the fluidity of remembrance as our memories are formed. Adapting the mono-perspective of the Bechers, it is possible to link Sancaktar’s motivation with the Bechers’ “new topographic” movement, building a new visual language through absent images. When narratives and archives of images fail, is it possible to claim these failures as a topography of absences and produce narratives through these absences?By incorporating a tab that must be removed in order for the book to be read/looked at, Sancaktar draws attention to the conscious act of seeing—and subsequently, the irreversible nature of narrating. Once told, it is very difficult to untell. The inclusion of a fictional story in the artist book points to the multiplicity of stories that the photographs could be holding. Through a very specific formal approach that employs and unsettles the mechanisms of photography, Sancaktar looks at the role of photography in historicisation processes and utilises the frames as a stand-in for the authors of those processes. Sancaktar's book reads as a narrative of narratives, reproducing, reorganising, and reforming absences of images.