In the first part of her trilogy, Memories for a Private Eye, Stephan invoked numerous fictional characters – a detective from Lebanese national television, an investigator from classic film noir, Alice in Wonderland, Captain Silver – in her search for a lost sequence of images. During the editing, as Stephan delved into and digitized her personal archive, she found overlapping images that fell in the space between two cuts. Fugitive stills flashed up to the editor’s eye. They were invisible to the naked eye. For a single frame, the fields of two sequences, through a mixture of labour and technology, blended to construct another image by chance. Collecting these glitch-like moments, Invisible Images render visible the materiality of videofilm as it migrates across time and media, creating fictional memories.