Where the source images for Kirsten Lilford’s works are photographs of friends and family, often at leisure, their painterly counterparts become something quite different. On one hand, they speak to the fading of intimate memories, the loss of detail that comes with recollections receding into the past until they are forgotten. On the other, removed from specific identities, Lilford’s figures become markers, commenting on white upper-middle-class existence in post-Apartheid South Africa.