The security guards of London have a reputation for aggressively and sometimes illegally preventing photography near the buildings they ward. When asked to justify their behaviour they often invoke spurious and ill-informed pretexts relating to the threat of terrorist attacks.

Both frustrated and intrigued by this, I decided to travel to sensitive sites around the city which I then proceeded to draw using a homemade camera obscura. In each case this procedure, which took up to an hour, was extremely visible and distinctly suspicious looking. When inevitably challenged, I attempted to engage these personnel in a discussion about art history, highlighting the blurred boundaries between images made by mechanical means and those drawn by hand, and by doing so demonstrating the absurdity of their objections.

The result is a book of fragmented images, their completeness indicating the speed with which I was intercepted and as a result giving some sense of the level of security at each site. Accompanying texts in the book explore disparate but related topics, including the history of representation, the intersections of art and photography, and the question of where the balance lies between individual rights and collective security.

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Lewis Bush