Often substituting mannequin’s hands for his own – as models in his photos and videos, as well as an intervening tool in making his drawings – Carter personalises the prosthetic as an extension of self. In Untitled, Carter presents a photo examining both his own identity and public response to the constructed and altered body. Showing the hands of the artist at work, the plastic appendages are foreign and dead, conceiving the body as separate from mind. The photographed drawing in progress is begun in a highly controlled manner, and descends into crude gestures indicating the infiltration of an impostor, creating an estranged self-portrait of questionable origin.