Sarah Nind’s exhibition, "Objets Perdus", examines how narratives mediate our understanding of identity and the world we inhabit. Her work develops through the readdressing of a found narrative, an original roll of black and white slide film she discovered in an antique lecturer’s projector she purchased from a pawnshop.  By using the series of images she found inside, Nind lays claim to them.  Printing the photographs and then painting them, she breathes life back into the images, retrieving the aura and mystery of a time and place that had been lost with the roll of film. The position of the original photographer and subsequent viewer are displaced. Ownership of the images shifts.  While first recorded in the spirit of a personal history, the photographs are now understood as a revisited and essentially fictional narrative open to our speculation.

The series of 32 images is installed and viewed in the chronological order in which they were photographed.  While they can be seen as separate, the work, in its entirety, can also be read as a short film with each image representing an individual still in a time-based work.

In her previous body of work titled "Air Series", Crystal Liu pointed her camera skyward to question her sense of belonging in the world.  In her new series of photographs, "In the Dead of Winter", she attempts to answer the same question by bringing her camera indoors.  As a sort of meditation on domestic surroundings she positions and photographs ordinary objects in an intimate way.  Through various arrangements, and the progressive closeness of her camera lens to her subject, she discovers extraordinary landscapes.  A set of books on a shelf transforms into a forest of trees, lacy black drapes blanket the land as night, stacks of dishes become hills and valleys.  Everyday objects are not what they seem. Her home becomes a place for imagining and introspection.

Liu’s choice of subject matter appears simple, treated with even lighting and a soft depth of field. However, there is a darkness lurking within her compositions. The photograph "In the Dead Of Winter" sets a conflicting scene. The benevolent jam-filled spoon overflowing onto a white crochet blanket projects a daunting undertone of violence. "Where the Animal Lives" addresses the animalistic instincts that live in us all — at home, in our beds — where our subconscious is more apt to run wild. 

Liu’s intuitive approach to composition reveals a childlike wonder at the seemingly benign in everyday life while exposing the dark side of human nature. Familiar objects coalesce into complex landscapes, which are in turn bound and sealed into their own ineluctable space.  The viewer is trapped, having been deliciously enticed, and there is no escape.