From 2001, Ken Rosenthal’s subject has been an over-arching study of time, collective memory, fiction and cultural iconography; as seen through a somewhat brooding re-interpretation of historic negatives and photographs—specifically imagery from his own family album.

He presents exceptionally crafted photographs—bleached, split-toned and blurred—that bring together a range of associations that seem at once shared yet highly personal, unknowable yet familiar.

Like memory, his photographs are ethereal and ambiguous.