For over a decade, Storey has maintained a devoted notebook-keeping practice, treating the notebook as both residue and witness. His writing practice emerges from this daily accumulation, stringing together chains of images, longings, observations, whispers, and ruminations. Through layering, repetition, and fragmentation, one image fades into the dark just as quickly as it appears. The writing flickers.
The notebook becomes a site akin to the box or the dresser drawer: a place where distant memories and desires are held, hidden, and rearranged. Storey’s notebooks contain fragments of poetry, printed matter, photographs, taped images, torn pages, and traces of touch. Within them, his own writing merges with fragments of other queer artists’ texts, which he deconstructs and weaves into new constellations.
Keeping a notebook can be an act of self-preservation, as well as an act of disintegration. Experiences and desires are broken down into bits and pieces: fragments. In this becoming and unbecoming, this doing and undoing of the self, the notebook asks whether we write to remember, or whether we write to forget. While the notebook is certainly a witness, NOTEBOOK FRAGMENTS asks what, exactly, it witnesses: preservation, disintegration, or something in between. NOTEBOOK FRAGMENTS debuted at Printed Matter’s 2026 Art Book Fair.
Risograph Zine
2026
Saddle-stitch
Printed in Colorado