Memories of the past are dictated by the present. Although no object is counted on more for it mnemonic technology, a photograph is not inhabited by memory, but rather produces it. A fugitive testimony to a moment lost, the image painted by light counterfeits an instance. The mutability of our understanding of history unveils the role imagination and photographs plays in remembering. Identity is constructed just as much on the memories you’ve chosen to keep then those you’ve chosen to forget, similar to the photos of yourself you frame or tear apart - versions of yourself that are acceptable or unacceptable. This collection of series aims to deteriorate the positivist discourse of photography’s relationship with truth and shed light on the interconnections between memory, imagery and identity by focusing on universals. In an era where selfhood is colonized by commodification and dictated by flickering screens, memory itself becomes a spectacle, emptied of authenticity. HEYDT exposes the ideological contradictions that sustain contemporary identity. Subconsciously structured by codes of meaning, we accept the simulacrum, not as a mask of truth, but as proof of its absence. Her images reveal the collapse of reality into representation, where cultural narratives, endlessly retold, cement consumerism, gender roles, and beauty standards, reducing selfhood to a shallow, commodified performance. The female body, in HEYDT’s work, becomes a palimpsest—inscribed, reshaped, and nullified by market forces. Her photographs critique this spectacle, revealing how the politics of memory and identity are bound to the poverty of experience in a hyper-accelerated society. Through her lens, the mutability of history and the fragility of identity are laid bare, challenging us to confront the delusions that define our constructed reality.