S.N.A.P.S brings together lens-based works by Carmen Gray, Aliceson Green, and Vanessa Walters, delving into our relationship with archives as dynamic sites for meaning making. Through a focus on the materiality of analogue photography, the artists examine the interdependence between tactility, memory, and collecting, giving the photographic archive a resonance that extends beyond its basic indexical function. S.N.A.P.S shifts the gaze from the archive as a noun to archiving as a verb; as a lived, effervescent and gestural process weaving glimpses of the everyday into a tracing of our personal histories. Informed by Ingrid Shaffner’s concept of ‘deep storage’, the artworks expand on the boundlessness of the archive as a “package overwhelmed by its own contents”, which rebels against the very processes of containment it seeks to represent. The notion of storage resists easy containment into a single process, purpose, or signifier, and surfaces questions around the archive’s capacity, who or what determines what is included, the value of the labor involved, and whether it accurately captures objective memory. S.N.A.P.S focuses on the role of the artist-as-archivist and explores these open-ended inquiries within the dynamic framework of archive-art. The artists’ inspection of personal photographic collections conjures a vast web of associations between memory, time, and personal ephemera, and underscores Hal Fosters’ observations in the essay "An Archival Impulse", which highlights 'the nature of all archival materials as found yet constructed, factual yet fictive, public yet private'. What remains is an exploration of the archive as a vessel for metaphors, a poetic process that escapes formal constraints and prompts interpretations beyond its point of production and storage. Challenging its function as a static repository, the artworks explore the porous temporalities and mediums that make the archive a live organism, never fully resolved and continuously evolving.