Drawing from the rich explorations of French historian Pierre Nora on the nature of memory and history, the instillation ‘That Which Remains’ engages deeply with the fading and preservation of cultural memory, set against the fast-paced, constantly transforming landscapes of urbanisation and globalisation. 

The work is composed of eight cylindrical structures, crafted from watercolour paper. These act as canvases for a series of intricate, machine learning generated visual projections and paintings. The data for these visuals finds its origin in a carefully curated collection of moments from television programs and news media, with snapshots from Al Saleh's personal life experiences in 2021. The machine learning algorithm skilfully intertwines these layers of time, imbuing the resulting images with a soft, nostalgic quality that blurs the line between past and present. These projections, when cast onto the delicate medium of watercolour paper, serve as a compelling metaphor for the fragility and transience of human memory.

 The work hints at a disquieting trend: the gradual erosion of private, everyday memory. Meanwhile, collective memory — the shared narratives and experiences of a community or a nation — find physical embodiment and reverence in monuments and public spaces. This discrepancy raises the question central to preserving our individual memories in a world increasingly shaped by collective histories, pushing us to consider our relationship with memory in our rapidly changing world.