The Optimism of the Grid (2017) is composed of images rephotographed from television and computer screens, tracing visual culture from 1986 to 2017. The work examines the power structures embedded in media and the collapse of historical context that occurs under the relentless flow of images—a process that began with television and accelerated exponentially with the internet. Using the grid as a conceptual framework, the piece layers and re-presents these mediated visuals, highlighting how repetition and technological mediation reshape perception and meaning over time. It is a meditation on control, connectivity, and the instability of history in an era of perpetual imagery.