The photographic series Inscriptions combines imagery from a number of different sources, referencing museum artifacts, expansive landscapes and studio debris. Simple collage techniques are used to collapse the binaries and conventions of the source imagery in order to imagine a series of new and permeable connections. The work takes its starting point from a text by Samuel Quiccheberg entitled ‘Inscriptions of the Immense Theatre’. This is thought to be the earliest published text on museology and outlines the methods for the collection and categorization of objects, images and artifacts from across the world. The collection or ‘theatre’ is defined as ‘a repository of artificial and marvelous things’ and is intended to operate as a stand in for ‘the globe in its entirety’. In contrast to the presumptions and aspirations of the original text (which clearly speak of a western imperialist agenda), this photographic series imagines a theatre of aftermath - one in which the representational categories and certainties espoused by Quiccheberg have broken down and where new possibilities emerge from fragments.
Pigment Baryta Prints, 2017