My practice often involves an excessive use of process, and this work epitomises that. Originating from a handwritten letter, digitised, then edited so that only the 100 most common words in the english language were left on the page. Then it was hand stamped onto an aluminium sheet and photographed, and again further digitally manipulated and layered. The photographs are accompanied by an audio recording of my best friend, the only other person who knows the contents of the unedited letter, reading aloud the redacted letter. This work speaks to the tension between the duality of our own public and private selves. Asking questions of exposure and what it means to be known.