This exhibition investigates the reliability of signs in the ‘documentation’ of sculptural objects. The gap between a photograph of the object and the object itself is explored through the idea of ‘a copy without an original’. This notion of the copy is extended to the objects themselves that are castings of objects and thus already detached from their referents, displaced from their original signification. The photographic image is not the same as the ‘thing’; it is something very different materially, perceptually and semiotically. We have embraced ideas of simulacra and the understanding that the sign is not the thing, and we are often skeptical about the construction of photographic images in the digital age. So why do we take photographic documentation of art objects as representing those same objects? Why do we presume that the photograph somehow captures, that it is indexed to an object?

We think we know what something is, but we only know the idea of what it may be. This exhibition questions the presumptions of why we take the photograph as evidence of a pre-existent object. Instead proposing the photograph as something quite independent and unique from the object it seems to refer.