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This installation extends philosophical concerns explored in my earlier work which questions the experience, perception and understanding of human embodiment. The practice creates and deploys apparently real objects into highly specific contexts, calling on the audience’s knowledge of related artefacts to generate meaning. The work slips into the real through apparently effortless emulation whilst taking the implications of objects and scenarios to another psychological level. In a kind of material ‘virtual reality’, it develops their appearance and apparent function, whilst disguising their artistic genesis. The work relates to that of Barney, Gober and Baseman in its engagement with an experientially credible alternative reality.

In this and related projects, I explore the complex relationship between the self, the body and the other under systems of medical and scientific intervention and scrutiny. Work is characterised by in-depth engagement with both the physical and intellectual context of specific scientific disciplines. This work was researched and developed in consultation with staff at the London School of Hygiene and Tropical Medicine where it was installed. It particularly engages with the research of Dr. Valerie Curtis around the role of physical disgust as an evolutionary strategy for self-protection, extending this into more contemporary notions of asymptomatic infection and the new role of information as stigma, specifically in relation to sexually transmitted infections.

The work was sited within the working environment of the discipline on which it both draws and comments, and does not explicitly announce itself as artwork or intervention. Instead it relies on its ability to bridge the gap between familiar objects and situations within that context, and the more philosophical and ethical implications of its own particular proposition.

To be acceptable where it was sited posed challenges to studio procedures for producing objects derived from demanding industrial processes not conventionally accessible to individual artists.

Naomi Dines' artistic practice is principally concerned with human relations, perceptions and conditions, and uses many different methods - from installation and objects, to digital, photographic and video images - to tackle issues of embodiment, experience, representation and understanding. Her work often engages directly with specific places, exploring the human implications of different systems, environments and scenarios.

Current research concerns centre around the role of particular elements in helping to generate meaning in cultural production. These include the contributions and considerations of context, artefact and iconography in relation to the use of installation, object and imagery in fine art practice. They explore the relation between representation and apparent actuality, producing artworks as if they were the result of other cultural processes, and can call on their additional implications. The work attempts to slip new images, objects and environments into the real, and to call on the various modes, histories and contexts of other disciplines and locations to enrich the experience and understanding of artworks.

Specific examples of these enquiries currently include:
. The production of identical, hybridised objects for simultaneous insertion into diverse museum collections with conflicting political and anthropological implications.
. The generation and siting of advertising billboards deploying metaphorical imagery more familiar from landscape painting and narrative cinematography to unsettle familiar stereotypes and prejudices.

On a more technical level, this research is currently pushing the possibilities and parameters of large scale digital image production, as well as the contextual and environmental possibilities of various media, and their cultural implications. It represents advances in large-format digital-image manipulation and output for the individual artist, building on recent ground-breaking use of infinite canvas capabilities of Photoshop CS software, and extending previous limitations in high-resolution digital print-processing and production for the output and installation of experientially-scaled images in fine art practice.

• http://www.csm.arts.ac.uk/51610.htm