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Session II (Ibid.)

Rejecting the mother's milk, perhaps the 'feed' is poisonous or unpalatable - yet what is rejected is full of light. (Eb., II. xx.)

A triptych, religious-looking but based on a very non-sacred, commonplace piece of furniture. A dressing table, where a woman made themselves up, brushing hair, perfuming, covering up their blemishes, smells of sweat and whatever else. But instead of privately getting ready, this is a very public undressing with us as an audience. (Db., II. iv.)


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Session IV (Ibid.)

A big, robust piece, with three strong portraits, but all the individuals are fragile/vulnerable in the sense that they disappear if you stand in a different place, eclipsed by each other. They do not co-exist. Does this reflect experience? (Eb., IV. i.)

Is this how you feel perhaps. Stuck in between. Closed eyes unable to acknowledging of the inevitable infinite dependence of them. Your image is lost amongst the parents. (Db., IV. vi.)


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Session V (Ibid.)

What is happening at the top of the mirror? It looks like waves. Are we underwater? Does this suggest a subterranean world, where reality/dry land is out of reach? Is there a suggestion of drowning? (Eb., V. vi.)

How can someone not manage - seemingly struggle but not manage - to see their face in the mirror? It's a hopelessly raw situation. Not being able to see the truth of your face. (Db., V. iv.)


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Session VI (Ibid.)

I am looking at what is coming out of the mouth and it looks like chains - chains of words? (Eb., VI. ii.)

The light I suppose is what a photographer cannot do without. You are dependent on it, like food. But then doesn't the light itself spoil the possibility of expressing what is really there and what is most important? (Db., VI. iii.)


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Session VII (Ibid.)

With this piece, a very small part of me was starting to think, why keep submitting? (Eb., VII. vii.)

In any case this is something dark and ancient maybe existing in the present. You really want to exist in this present, giving so very little away yet being the focus of a portrait. (Db. VII. v.)


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Session VIII (Ibid.)

And there could be an eye on the right, in the hair - this makes you reassess which part of the head you are looking at, the front or the back. Nothing is certain or clear or straightforward. (Eb., VIII. viii.)

There are not there. (Db., VIII. ii.)


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Session IX (Ibid.)

Like the previous pieces, there is no face-on contact - what is this about? Is something too dreadful to look at, or does it reflect feelings of isolation, or is it about feelings of shame, or is it saying something quite different? (Eb., IX. iii.)

The reflections of reflections in the mirrors would in principle go on infinitely. So something keeps happening? A cycle being repeated, and no way of changing? (Eb., IX. x.)


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Session X (Ibid.)

I was getting carried away here, but it seemed to me that if the wax was used to make the piece, that might mean there was no candle left to view it with. So in fantasy there was a terrible choice perhaps, between speaking (making the piece) and being heard (the back-light). (Eb., X. ix.)

In the dark most of the time, useless without light - or maybe something else without light? There is a worried look as you stare backlit. (Db., X. iii.)


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Session XVII (Ibid.)

In Picture 1, no-one was looking out to sea, I don't think, but that is happening here. As if the focus has changed from the past or present, to the present or future. Or the other way round. Either way, there has been a change. (Eb., XVII. ii.)


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Session XIX (Ibid.)

It led me to think about the project in relation to the three of us, too. Would we, in the project, exist without each other? Not in the same way, certainly. (Eb., XIX. xiii.)

The more I look at this gap the more revolting it seems. Disturbing more than revolting perhaps. (Db., XIX. i.)