Ad Work reflexively proposes that its photographic stills exist before the artist. The project is a reverse recording, starting with the final product. It is then that the vanity of the false chronology exposes the projects individual parts. These parts are: the photographed stills ofartificial works of art, the viewer who completes the work with imagined false narratives, and the gallery which frames this work, granting it the authority to complete the perverse circle of authorship. The final of its parts is 'the body as a site' which is taken in and out of uniform. The body is continually concealed and revealed as the artist and the fraud. Ad Work offers a vantage point from which the digestion of art and the artist can be viewed.
