Removing the skin began with interest in 17th century still life painting and early 20th century still life photography combined with reading on contemporary work on genetically modified organisms. I was horrified when I read about attempts to create an unsquashable tomato that packed and shipped well, by adding genetic material from fish.
I became interested in the often fraught relationship between people, the natural environment, and ultimately, our own bodies.
The latter images referenced both early anatomical drawings and 19th-century medical photographs, which are remarkable in their overt subjectivity. The former often pose a fleet body, skin casually draped over a skeletal shoulder, in a classical landscape, while the medical photographs (of living subjects) use the visual forms of 19th century portrait photography.