It will make you stop and think that the mythic truth of photography may be false, and it will, no doubt, rattle a few brains.
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Mitchell’s visual essay is about the subversive power of imagery, and he shakes up iconic images of men so famous they are almost saints.

These manipulated and enlarged 19th-century photographs imitate heroic painting of the Victorian era.
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They participate in the oretical debates about the nature of truth and authorship in photographs. They remark on colonial power only through Mitchell’s intervention.

A girl’s dress, transparent, edged in lace, hangs on a hook. If this is her room, then private space has exploded into the vast space of a city.
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What chance does the fragility of girlhood hold in such a deterministically masculine world? The dress hovers like a spirit, perhaps symbolizing the hope placed in children to rectify worldly imperfections.

I’ve always liked the way real objects appear in short stories.
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I wanted to give photography a more sculptural aspect, and
putting singular objects with the photographs lets them tell a story.