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This series considers the act of watching in the age of total war. Exploring unlikely connections between camouflage, European folkloric costume and video post production.

In this series of portraits, a camouflage Ghille suit is set against a chroma key backdrop to capture monotone color volumes. The photographed texture and motion echoes a painters brush stroke.

The experiments with this costume explore notions of concealment not only in reality, using the suit, a real object is placed in a background, but also something that is often replaced with another synthetic background, the green screen.

The interplay between these foreground and background elements explores the dialogue between the supernatural of, not only folklore motifs, but also the physical unnatural qualities of the chromakey green itself. A colour not found in nature. This contrasts with the natural fibres of the jute, itself a natural product. Essentially this reversal of nature and the synthetic highlight the romanticised nature of memory of an imagined world within colonial environment. A No mans land. Like a Paul Nash painting it references reality but it is not reality. The chroma key is that No mans land and the ghille suit is a figure that would have haunted that area of non existence. It’s a romanticised version of a colonial past that has never happened.

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