Staged in his studio, Carter’s Polaroids set up elaborate scenes of ‘artist-as-artifice’. Picturing a plausible snapshot of the artist explaining his work, Untitled resonates an eerie unreal quality, setting sickly wax-like hands against a collage of landscape photographs. Juxtaposing the dummy limbs to a backdrop of idealised nature, Carter exposes the malleability of representation; the fake arms sweeping with creator’s domination over the black and white wilderness. Using the ‘truthful’ documentation of photography to verify the charade, Carter examines the illusion of physical appearance, and the apprehension surrounding both nature and the synthetic.