Missing pages is based on an archival photograph of Pooley and her sister as children during harvest at ‘Santa Teresa’, the farm where they grew up in Araucanía, Chile. Pooley cut the original photograph vertically down the centre and swapped the left and right to create a disjointed image that she has emphasised in the painting through a rough line that runs down the right hand-side of the canvas to create a visual fissure. Through the painting process, she also stripped away much of the contextual detail that fixed the image within a specific time and event – what remains are the emotional residues of memory that seem to be fading before the gaze. At the same time, the abstraction of the image, the painting over or removal of certain details, detaches the memory from Pooley as an individual to reflect more widely on collective consciousness and the ways in which history continually replays itself from different perspectives. In reviving and reimagining archival imagery, Pooley mirrors this process of repetition to reflect on the space between individual and collective, closeness and distance.