It is the nature of much photography that the photographer's subjectivity within their work is often overlooked and made invisible. A suspension of disbelief is adhered to, whereby the photographer is rendered invisible, and all that is readily assumed to exist is the subject, the photograph, and the viewer. The same is true within much Archeology, where the physical labour is often overlooked or not taken into account.

Similarly, within academia, it is often a given that tools (both physical and theoretical working methodologies), are often used without rigorous thought to their active involvement in the shaping of research. In response to this, the presentation and form of this work are such that it is impossible to simultaneously view both sides of the image at the same time.

The tools (research methods) and the hands (researchers, research institutions) that guide them within the context of academia, and the invisibility of the connections/relation between the researcher, their tools and their work are represented within these sculptural images.

The work was created with the kind help of Dr Elaine Jamieson and the Archeology department at The University of York, under the brief to “create work that responds to current research and research culture” within the archaeology department.

AMY D'AGORNE

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