Responding to quiet scenes captured in late afternoon and early morning light, Cutler dwells within his own memory to form a series of paintings and drawings that seek to challenge the demand of rapid image creation and consumption in contemporary society. By asking audiences to pause and look closely, afterimages of memory gradually reveal themselves throughout each artwork.

The exhibition is organised in two parts where material and process are central to Cutler's practice. By first translating subject into painted image, viewers are no longer directly looking at place, but a version that has already been recollected. Following this, Cutler’s painted images are redrawn onto paper, away from viewers' eyes in a personal act of reminiscence. What is captured here is not exact detail, but a feeling that remains even as the image is altered. This then leads into the final portrayal of Cutler's work. Moving back into painting, he portrays these drawings onto canvas and dappled with soft light. Here paper becomes both the subject and the surface: it holds the image while also standing in for it. In this way, paper mirrors how the mind works, holding onto impressions, altering them, and bringing them into new forms.