This show film for fashion designer Tessa Edwards’ SS15 collection takes the viewer through the historic phases of art production. Flesh is calcified into sculpture, sculpture is enframed and flattened into painting, painting pass through the mechanised processes of photographic image production into the rapid cut imagery of disposable commercial image. Eventually the singular image melts in the hyperreal flux of internet image. The film resolves into a vanitas depicting a virtual shrine to the e-self, an image of a autopoetic warped subjectivity at the center of the digital gaze.

The collection was a collaboration with anglo-american feminist artist Penny Slinger, hence the presence of her images in the film and the central themes of female body depiction (Slinger often used her own naked body in her iconic photo-collages). The film uses the female form as an enduring theme to anchor the narrative and in turn questions the effects of the changing means of image production on the self-image of the subject. The coda suggests that the subjugating force in image production is no longer the male gaze but the self-reinforcing reflexivity of social media as image production medium.