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Works for Sale

Medium: Cross-processed slide film printed as cibachromes mounted on aluminium.

Some Editions Sold or in Laure Genillard collection

If we loosen an idea of a binary relationship between positive and negative as simply being opposites and consider the two states to be a difference in kind rather than degree, then in the negative photograph (the image that is actually imprinted on the historic film in the camera) we are presented with another world not a simple opposite. Often more ghostly and spectral than its non identical twin (the positive), it reveals a...

Seers' is the first artist to use this technique of using the mouth cavity directly as a camera, her work on this began in 1995 when she was working at the Slade School of Fine Art, UCL, London and more substantial experiments were made possible by the Artist's Work Programme at The Irish Museum of Modern Art in 1997. Beginning in black and white the works became colour toward the end of the residency in Dublin. She has produced hundreds of images in this way. The narratives and content of these works have found themselves into her filmic works such the Extramission series (...

A series of photographs taken with the mouth all approx 6cm x 4cm

Becoming a camera has its consequences. Days spent trying to cannibalise herself in a hand mirror revealed that no matter how hard she tried to hold the photographic paper still in her teeth it buckled and distorted, and so at every attempt she turns into a monster. By taking a picture of herself in this speculum she literally ingests her image, printing her outside on her inside, but this inversion reveals something grotesque – the unseen inner demon perhaps?

Cycling around the city from historic site to sight - it was hard to digest. History was written large all over it, the burning of the books and so on. A postcard from a small shop pictured a giant statue of Marx but that had long since gone and was buried in the ground somewhere. Absence seemed oddly present as I tried to take it all in.

These images were the artist's first attempt at becoming a camera.

In order to do this photographic paper was cut into strips small enough to go into her mouth cavity. These slivers of paper were inserted in a blackened studio and lamps were used to expose the scenes on the paper. Traces of light bulbs, hands and ghostly faces appeared. That it actually worked seemed like a small miracle. Her expectations of it working were low.

The impetus to make the work was to pass beyond the discourse of photography as an objectifying mechanism by making the act of photographing and...