The reading group discussion of "We Move Amongst Ghosts" presents a compelling lens to connect individual memories to the broader landscape of collective memories (Ford, 2019). As articulated by Anna, there is a" parallel between individual and collective memory." (Camberwell Reading Group, 2023) This resonates with me: 

1. Understanding how Ford employs the urban environment to evoke memories provides new perspectives on how environmental factors influence memory formation (Ford, 2019). The main point is how emotions are intertwined with memories, and spaces/objects with emotional significance help individuals trace back memories. Even though I do not use the environment as a memory prompt in my current practice, I use other prompts, such as diary entries, conversations, or smells.

2.  Ford also uses narrative layering to uncover the stories hidden in urban spaces (Laura Oldfield Ford, 2019). I use layering of lines in my work to narrate memories, too. Layering in my work is not just applied visually and conceptually, allowing different elements to coexist and play their respective roles in storytelling. In future works, I hope to explore the possibility of silk layering. 

Lastly, Ford's method of creating conceptual depth by investigating the socio-political and cultural possibilities of urban environments is something I struggle with. I am focused on individual memories, so I wonder if exploring socio-political and cultural dimensions is related to my practice. Sometimes, I feel I should leave it to artists dealing with collective memory. However, at other times, I feel that individual memories are also shaped by external factors such as socio-political and cultural issues. My practice is still in its budding stages, but I am sure that as I progress throughout the year, I will be able to find an answer to this question.