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Marian Drew

“I find parallels between attitudes to fauna as exhibited in Renaissance ‘still life’ paintings and an attitude to fauna in a local sense that sees as a consequence of progress the destruction of native fauna… By referencing this familiar and historic painting genre in the context of photography in the present, I hope to expose and interrogate our relationship to wild life within the site of the domestic narrative.

The kitchen traditionally provides a site for familiar and sustaining narratives. Still life Renaissance paintings presented a seemingly abundant produce of the land made available for our pleasure and consumption but hidden beneath this sensual pleasure was the moralistic story or allegory.

The animals I photograph are killed by cars, power lines or domestic pets and are found in the course of daily living. They remind us of the consequence of our insatiable consumption and of the many other species that share our landscapes. The shifted perspective from long distant wildlife photography to the intimate table, from historic to contemporary, European to Antipodean and painting to photography repositions our response to the subject matter presented.”

(Marian Drew 2006)