With each trap carefully labelled to show when and where it was left in the museum, the bodies they collect create a perverse echo of the neatly pinned and labelled specimens in the museum’s official collection. From the tangles of otherwise anonymous body-parts caught in these traps, the museum thus fashions the material for a curious “shadow” collection.
As the sticky traps illustrate, the museum’s need to diagnose its own infestations is what compels it to acknowledge their presence and it seems fitting therefore to put its shadow collection on show using the sticky traps.
Displayed in a small drawer, the exhibit insinuates itself into the museum, putting the museum’s “wrong” bodies on show. In so doing, completing a transformational process from body to specimen, begun by the museum itself. At the same time, I hope the result remains anomalous to the museum visitor; that the otherness of the drawer’s exhibits is maintained, in contrast to all those that surround them.