UNTITLED SEQUENCE OF GAPS uses the form of an essay film to approach trauma-related memory loss via reflections on light outside the visible spectrum – on what is felt but never seen. The artist's voice considers violence and its workings, class and queerness not through representation but from within. Footage in which public visual memory stands in for personal remembrance exists alongside sequences recorded via infrared imaging and scenes captured under ultraviolet light or microwave radiation. What are the effects of the invisible and the power inherent in shifting violence beyond visibility? Ghosts appear from holes ripped into time by an unremembered childhood, and a recently abolished witch-burning ritual in the artist's rural home town serves as a foil against which to question the politics of visibility.