The series of screenprints Connect the Dots appropriates archival imagery of tactical formations used in allied air attacks (or their aftermath) during World War II. Digital processes are used to subtly alter the found formations until they become the basis for patterns typically used in childrens’ drawing and coloring activity books, such as a flower, dinosaur or octopus. Harnessing the discursive and ideological clash resulting from these juxtapositions, Connect the Dots asks questions about the assumed neutrality of photography as a historical document, an impartial conveyor of historical facts. It further hints at the ways in which memory and ideology actively and continuously shape and renegotiate our relationship to the past.