In the absence of the mask but not the object (2022), explores an alternate representation the speculative object. In the absence of the laser cut, positive mask, the image of an object is contingent on the contrast between and the sharing of edges with the positive space to define an outline of and create proportion. In having a stencil and sprue tree-esk quality with jumbled placements, these negatives ambiguously evoke their counterpart physical positives (the constructed mask-model). What parts fit together? What do they form? Are they the primary, secondary or an alternative representations? Perhaps the negative isn’t merely deficit of, a cut off from, or inferior to the positive, but has its own merit - in its ability to allude to “what is” and “what might” simultaneously.