In Quotational Practices: Repeating the Future in Contemporary Art (2014), Patrick Greaney asserts that “the past matters not only because of what actually happened but also because of the possibilities that were not realized and that still could be. Quotation evokes those possibilities.” In my recent paintings and drawings, I combine fragments of my representational paintings created between 1995-2003, nonrepresentational renderings produced between 2003-2014, and current articles from various newspapers. Using tracing paper, I randomly select moments of my previous work to transfer and layer in complex compositions. Using flat rendering in highly chromatic colors or extreme layering of linear drawings, I obscure glimpses of representation from my past work. In addition, I layer drawings of mundane objects and spaces from my home environment which I physically collage with cutout sections of past paintings. The final layered renditions enact the ways we collectively experience multiple temporalities in the present. In this paper I will discuss the ways in which my recent paintings and drawings, composed of current imagery and fragments excavated from my past bodies of work, challenge both material and conceptual boundaries between traditional notions of abstraction and representation.