Max Creasy's carefully constructed photographs question our interpretation of photographic reality. The play between illusion and representation, between the facsimile and the real, invites doubt about the process of photography and the viewer's relationship to it.
The artist draws on different modes of representation including sculpture and painting, to question the authority of photography. His domestic still lifes are cast from plaster, hand painted – complete with shadows and highlights – before being photographed. This process interrupts our understanding of the role and effects of light in the photographic process.
These simulated objects – a rock, a highlighter, a yoghurt container – present themselves as a mixture of references to the artistic process, duplication, and illusion. Reinterpreted, they take on abstract qualities and become compelling arrangements of light and form.