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This series functions as a modern-day memento mori or vanitas; a meditation on mortality and ephemerality.

The elusive fly has long been associated with decay and the passage of time in art, literature and religion; as a detail in Virgin and Child paintings for example, where it may allude to the corruption of flesh, and as a symbol of transience in Flemish Baroque flower paintings.

In the Babylonian Talmud it is a symbol for the evil inclination ‘that dwells between the two entrances of the heart’ (Brachot 61a), whilst as personified in the form of Beelzebub, the Biblical Canaanite god and Lord of the Flies, it becomes a demon of high rank, ‘than whom, Satan except, none higher sat.’ (Milton, Paradise Lost).

Sequenced from ostensibly unrelated documentary or 'straight' photographs, the images are recontextualised into a narrative and given a fluidity of meaning, to describe something about the human condition and modern life, the melancholy, the temptation and redemption, and the churn of hope and despair that like the fly’s irksome buzzing, can never truly be quieted.

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