I-CONTACT,  as a series of nineteen self-portrait photographs of the artist's eyes encased in agar jelly, proposes the phenomenon of the living photograph. Whereby, each photograph bacterially evolves throughout the duration of the exhibition. As a result, the visual outcome of the biological photograph is both unknown and infinite. The work is subject to the category of Bio Art in its existence as both a scientific experiment and an art object. It is evident that the auto-destructive nature of the ocular photographs exists where bacteria gradually adorns the image of the eye, whilst simultaneously obscuring it. This sense of the creation of an art object, but also the gradual destruction of it through the natural means of bacterial cultivation leads to the questioning of the role of the artist in relation to the creation and control of the artwork. Therefore, it ultimately assigns the bacterial growth as the artist in its colouring of the acetate photograph. The work responds to and materialises the paradoxical beauty and biological disgust that is present within anatomical aesthetics. Of which is seen in the grotesque yet fascinating, silhouetted and rapidly multiplying mould which is juxtaposed by the beauty of its lurid and glowing spores

. The scientific sentiment of the work is furthered as the subject of the photographs depict segments of the artist's eyes, which match the similarly dissected and fragmented specimens that are too exhibited within Edinburgh University's Anatomical Museum. The work is situated within an illuminated glass cabinet which enables the audience to closely examine the agar jelly photographs, which establishes the work as a scientific object to be studied. As well as the human and animal anatomical remains that surround the cabinet which further strengthen the scientific context of the artwork in situating the work within an anatomical environment.