The photographs in Prehistory are created as a kind of collaboration between mother and child. I work with my toddler son’s drawings, which at this point are more exercises in markmaking than drawings. I cut them out in minute detail, and photograph these small ephemeral sculptures; the arcs and shadows they cast. Within the process there is an oscillation between 2-dimensions and 3-dimensions, and the tension of preservation, destruction, and reconstruction. The resulting works explore a young child’s pre-representational markmaking, still firmly rooted in abstraction and driven by his kinetic urges. At the same time, these black & white photographs also portray an artist clawing her way back to her creative practice after the hiatus of early motherhood.