The central subject of the installation is a trophy deer’s head, whose image is de-contextualized, displaced, fragmented and manipulated from multiple positions simultaneously. Frozen in time, the uncanny deer looks alive, except for details of its physical deterioration. Removed from its original condition and context, the deer becomes the target of objectification and projections of meaning.

Real-time and prerecorded projections of surveillance video in the gallery dramatize the experience of being inside a work of art and position the viewer in a selfconscious, participatory role. The simultaneous viewpoints challenge preconceived ways of viewing images by placing the audience in a fragmented space, one that implies an exchange, while subverting the idea of sequential images as cohesive, linear narratives. The lack of movement in some videos explore duration through stillness as distinct from the frozen moment in a photograph.

This project is part of an ongoing investigation into representations of nature, the power of the gaze and the tendency to objectify “the other.” The artworks suggest that representations of nature reveal more cultural, ideological, political and social frameworks, than actual nature.