In Positive Illusions, a childhood experience is meticulously reconstructed with CGI, coming together in a curious blend of memory and fantasy. In the summer of 1999, artist Benjamin Freedman and his family went on a road trip to Maine, where they rented a small house. Freedman draws on his vague recollections of these events to create pseudo-photographic images, using technology to fill in the blanks. The resulting work is a series of uncanny still-life images from a child’s imagined perspective, creating a commentary on the nature of memory that suggests it isn’t so dissimilar to simulations. Freedman’s use of CGI to re-stage memories and events results in a unique flattening effect between the past and the present. Often, the images show what Freedman describes as “the remarkable unremarkable,” a collision of banality and beauty which he sees as the very nature of memory itself.