This piece makes strong conceptual reference to the work of Thomas Barrow, an American photographer (b. 1938) whose output—notably his "Cancellations" series
(1973–81)—is characterised by the intentional defacement of film negatives by various means (e.g. scratching with a
knife, the use of spray paint or a hole punch, etc.) to disrupt the visual representation. Such a process is highly ambiguous; does it
simply draw attention to the medium itself, or are the distortions in the images a commentary on the subjects that they portray?
