Over a number of years KIT have taken photographs for documentation, research and preparatory purposes. This archive of images grows to a point where distinct narratives and lines of thought become apparent. In 2003 KIT are invited to undertake a residency at Axe Néo 7 / Daimon gallery, production and residency spaces in Gatineau, Canada. During a 6-week residency, the photographic archive is trawled and images which symbolize themes inherent within the collection are chosen and manipulated via the computer program ‘Photoshop’.

The major theme chosen to work with is that of violence, which is then subsequently dissected into three different formats of controlled, accidental and capricious violence. An equivalency is given to all of the photographs and none are treated any differently according to moralistic or ethical standpoints. Each image has a focus of interest and the surrounding context, which grounds the areas, is erased and a single colour replaces it. The matt finished images are all the same size at 12 x 12 inches and are printed onto 2mm thick card. Each image is cut out from the card and mounted flush on a 12mm piece of ‘mdf’ wood. A hinge is mounted on the back of each piece of wood so that each work is attached to the wall via the hinge and are therefore open to repositioning by the audience.

As already stated, three sets of images are produced for the project. The first set of images consists of 4 pieces. Referencing controlled violence in the form of architectural structures that have had forms of aggression and bloodshed happen within them, the buildings in question have been locations where humans have performed acts of violence on one another.

The second set of images has 8 pieces in it. The photographs for this set were all taken in the St.Vincents hospital in Melbourne, Australia. 11 different types of somatic scanners were selected and documented, out of which 8 were chosen for this work. Referencing violence towards the body of a more capricious nature, the scanners reveal the human’s vulnerability to viruses, diseases and breakages.

The third set is comprised of 12 pieces. Shot in an airfield for storing crashed planes, all the photographs reveal the stained, twisted carnage of planes fuselages, wings, and tail sections along with seats, headrests and pieces of carpet. This final set of images speak of acts of violence towards the body that have been caused in the event of a crash situation, where technology is witnessed to have somehow failed us.

The treatment of the images in Missing Mass shares a similar process to the one carried out for creating the works of the A.D.I.E.U. Working Archive project. Both photographic projects are subsequently exhibited at ‘Gallery 44: Centre for Contemporary Photography’ in Toronto, Canada in 2005.

Missing Mass exhibits at the following galleries -

2006   Galerie Sans Nom (Moncton, Canada)
2005   Gallery 44: Centre for Contemporary Photography (Toronto, Canada)
2003   Axe Néo 7 (Gatineau, Canada)