b. 1975, Jersey, England
Each of Neil Hamon's self-portraits presents multiple viewpoints of an event, of which the artist is both the subject and documentarian. The works recall iconic images, including The Death of Chatterton (1856) by Henry Wallis and Weegee's gritty shots of crime scenes and car-crash victims, as well as the uncanny domestic settings, jump-cuts and sharp camera angles of Alfred Hitchcock's films. The content of these fantasies reveals the artist's irresistible morbid fascination with anticipating his own death, while their highly constructed compositions hold the grim realities of death at bay.