In her extended photography project “Riffs on Real Time” (2002-08), Hewitt compresses
time and history into flat optical space. Her photographs layer found snapshots of family life,
printed pop-culture media from the 1960s and 1970s, as well as casual doodles, monochrome
book covers, and tear sheets from manuals. There is both concordance and dissonance between
personal and public pasts of the snapshots and mass-circulated materials, and a decisive
break in the tangible, accessible present represented by the worn floorboards and shag carpet
backgrounds. Her approach to photography responds to the medium as a social instrument.