Unhinged uses stills taken from Sam Taylor-Johnson (formerly Taylor-Wood)’s time spent on a film-set to reconstruct a form of narrative. The stills depict the cast and crew both at work and at rest; the reader is left unsure whether the subjects are in character, out of character, or are playing roles for the artist’s camera.
The sequence of images is fragmented by the random use of both black and white and colour photography. The photographs are presented as a three metre long concertina which – when refolded – enables the reader to reconfigure the images in any order, further splintering the narrative and setting up new dialogues between adjacent images.
Unhinged neatly anticipates the artist’s later move into feature filmmaking.