The palace of memory is re-built again with each walk through. In her new series, Denudation, Mickey Smith presents a mesmerising kind of in-situ laboratory-style photography—the image as evidentiary document, the print as cold case. The stark, dark photographs in this new exhibition test the limits of objectivity and the false consolation of casualness even as, in the tradition of documentary and crime- scene photography, the images aspire to conscientious neutrality. The photographs document those objects discarded within an abandoned library, but their formal objectivity is no guard against the ghosts of narrative, perceived or imagined.

The palace of memory is re-built again with each walk through. In her new series, Denudation, Mickey Smith presents a mesmerising kind of in-situ laboratory-style photography—the image as evidentiary document, the print as cold case. The stark, dark photographs in this new exhibition test the limits of objectivity and the false consolation of casualness even as, in the tradition of documentary and crime- scene photography, the images aspire to conscientious neutrality. The photographs document those objects discarded within an abandoned library, but their formal objectivity is no guard against the ghosts of narrative, perceived or imagined.

The palace of memory is re-built again with each walk through. In her new series, Denudation, Mickey Smith presents a mesmerising kind of in-situ laboratory-style photography—the image as evidentiary document, the print as cold case. The stark, dark photographs in this new exhibition test the limits of objectivity and the false consolation of casualness even as, in the tradition of documentary and crime- scene photography, the images aspire to conscientious neutrality. The photographs document those objects discarded within an abandoned library, but their formal objectivity is no guard against the ghosts of narrative, perceived or imagined.