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Curated by Jim Waters and commissioned by Clare Van Loenen of the Nottingham Castle and Museum Galleries, Spot consisted of 16 photographs and publication ISBN: 0 905634 62 4 with parallel text by Stuart Cameron. Wollaton Hall, an Elizabethan Stately home in Nottingham, houses one of the oldest natural history collections in England. Selecting taxidermy specimens from the the British Bird collection, photographing them and reconstructing the images on computer, the work explores the possibility of raising the status of the dead bird to that of "society portrait". Photography’s relationship with painting through Photoshop is explored in relation to the detail work in the costumes of Nicholas Hilliard. A strategy of occluding the glass eye in the image was an attempt to reposition the power relationship between the observer and the observed, exploring the implications of ownership. In the context of the 19th century diorama, our position of dominance is questioned in relation to the natural world. The exhibition was reviewed by Martin Herbert in Art Monthly no. 270 (November 2003) "The key issue is it’s figured illusion that refusing to meet one’s eye is an action on the part of the bird not of the artist. …the work anticipates and teases out a latent nightmare scenario of total alienation from, and non superiority to, nature …and, in doing so, plants a flag at the previously unmapped mid point between Alfred Hitchcock and Mark Dion." Three photographs from the exhibition were selected to be part of a group exhibition La Mirada Reflexiva at Espai D’Art Contemporani de Castello, Spain 2005 The same works also formed part of the exhibition Landed at FSM Gallery Florence. Curated by Martino Marangoni. Spot no.3 was selected as part of the Print Programme at the Museum of Contemporary Photography in Chicago.
The Yard Gallery, Nottingham, pp.16