The whole is now in pieces is the autobiographical narrative of birth trauma and loss imagined through installation. Freud's concept of Nachtraglichkeit (a revisitation of memory to create new meanings) is referenced to effect multiple modes of haptic translation. Furniture and ephemera sourced from a site of personal narrative are translated through the mediation of blind drawings into cut-and-join steel sculptures. Resin and plaster-soaked towels are cast from the negative spaces of the body. A soundscape is an iteration of a mother's night work: the white noise made to settle an infant, or the performance of a desire for comfort. Intuitive studio practice enables interruptions of representation, resulting in abstracted forms that create a psychological mind-room that mirrors the three memory-modes of revisiting a traumatic event. Hospital materials represent the untranslated event, the ‘original’ memory. Steel sculptures are deconstructed revisions of the originating memory, or memories revisited to create new versions. Lastly, cast towels aim to hold the emotional resonance of the remembered event and signal a narrative of absence or loss. While memory is the impetus for the making, and provides the source materials for the studio investigations, it is also thus a property of material through a transference of senses.