Troy Ignacio’s works challenge surface value and the cavalier representations spurned by a capitalist society. A tautological thesis on intermittent memory and information flow by contemporary channels of media is raised in his portraits and depictions of objects. The texture of ambiguity that casts an ambience on his works presents the relationship of photograph to painting – as his process bears both artistic methods. The works are a product of “taking time” for a city to settle as you experience it. This conscious act merges two ways of seeing: one in clarity or starkness and the abstracted, as with the activity of zooming in. The grain and the haze are explored and achieved in both charcoal and oil media.