My senior thesis is titled MIRA PA’CÁ. A series of 8 larger than life-size figurative oil paintings sourced from cassette tapes and video stills. The project came to be in efforts to revive a collection of video diaries from my father’s family in Valparaiso, Chile in 1997, and through the process, thread together their stories through paint. In MIRA PA’CÁ I move away from the static photograph, using these home videos as a foundation for the kinetic paintings, where the context is recreated by stills from moving image. The blurry and divided aspects of the low-quality videos are enhanced by paint, as I attempted to exaggerate the parts of the videos that make the tapes feel so worn through saturation and gestural mark making. In this body of work, I challenged the lens through which I viewed my family and their past, but through that, myself as an artist and place in their lives. By creating fragmented and destabilized environments that figures occupied, I learned and thus answered how fragmenting motion could render these stolen moments from tapes, rather than static images, and deliver a newly formed relationship with the source material, and the subjects the images depict.