For ‘the Crawling Space’, Degeyter dug into his childhood and faced some creatures he had not encountered in years. To spark the conversation with his former self, he went on a search to relocate as many of his childhood drawings as possible. The drawings functioned as a powerful vessel for memory and played a fundamental role in the creation of these works. References to the iconography and materiality of paleontological remains and anthropological artefacts are made to visualise the episodic memories he encountered on this journey The childhood drawings are translated in the ‘Fossil Plaque’ and ‘Amber Specimen’ series. When Degeyter found his childhood drawings he was overwhelmed with a similar feeling as those of his first impression of the aquatic dinosaur plaques at the natural history museum of London. Similar to those plaques, the drawings are leftover fragments of an incomplete past. By delving into his drawings and linking them to specific memories he was able to puzzle some pieces of his youth back together. But the specific contexts and intentions of the original drawings were often lost. Hence the reason why some of the plaques are translations of the original drawings and some are interpretations. The ‘Gestalte’ skeletons are embodiments of certain periods or dominant feelings of Degeyter his youth. Where the fossil plaques are very specific memories, the skeletons are more elusive.