Abstract
This chapter examines a 40-year photographic practice that has focused upon the relationships between photography and memory. A brief critique of the ‘family album' collection is countered by how it can be opened up. A description is given of how the methodologies of re-enactment phototherapy evolved and developed, illustrated through examples. Memorialisation and the creation of new rituals is set within the history of post-mortem photography. A longitudinal auto-ethnographic study of a 1930s suburban semi-detached home examines both statis and change over time. This too becomes a study of the need for memorialisation and the quotidian every-day. Re-enactment phototherapy is returned to as a means of embodying loss and grief. Acts of reparation and ambivalence are given recognition and representation, as memory itself shifts and changes to accommodate conflicting emotions.
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