The exhibition’s title names something immediately familiar yet fundamentally inaccessible: a moment close enough to remember, but already beyond reach. The works in this exhibition inhabit the distance between experience and recollection, tracing what survives in the space between them.

Across nine practices, personal histories are salvaged through deep engagement with material. Sage Schachter’s canvases carry environmental impressions drawn from his New York surroundings; Nicholas Aliberti treats discarded metals to processes of transformation; and Zachary Merle works from family archives to recover memories obscured by his epilepsy. Remnants of the past are gathered, juxtaposed and overlaid, echoing the fragmented structure that forms memory.

Even the human form cannot act as an immutable vessel for history. Figures surface from vivid dreamscapes only to dissolve before they can be fully recognised. Abstracted lines and gestures take on anthropomorphic shapes, blending our imagination with that of the artist. Fluid forms, rhythmic gestures, and sweeping strokes permeate the work, reflecting
the scattered and unstable mechanics of recollection. As the boundaries of time erode, the past becomes porous and is revealed not as an archive to be retrieved, but as something that is still living.

Yesterday resists the impulse to resolve memory into narrative. What remains instead is residue, traces that insist on presence without claiming permanence. The exhibition considers memory not as a fixed record of the past, but as something that is continuously reconstructed in the present.