The extremities of public bronzes have been eroded through repeated stroking. Churchill's toe outside Parliament's chamber has been deformed, and the statue of St. Peter outside the Vatican has eroded and now resembles an anvil. Similarly, Edinburgh's "Toe of Hume" has had its blue patina worn off.
This series of large format celluloid negatives was taken on an ultra large format camera, investigating the exchange of the haptic for the visual. The 1920's bellows camera, whose extending bellows mimic a reach, presents a curious aporia between sight and touch. It simultaneously actualises an attempt of grasping something, only to undermine the process with the result of a two-dimensional, "ungraspable" image.