Mato Grosso is an exercise in post-memory which stems from unearthing my father's photographic archive after his death, and discovering his missionary work in Brazil before I was born. From the discrepancies between the images and his own account of the story, a negotiation of meaning begins, where my family’s foundational fantasies and their representation in our family album come into play, along with the operating power structures present in colonialism, capitalism, and the Catholic missions.