“In 1979, a police station in North London branched out to specialise in peculiar crimes. Leading the investigations was Detective Chief Inspector (DCI) Dean Wilson, who dedicated his whole life to fighting what the traditional, prevailing criminal justice system would consider “petty offences and misdemeanours”. From a young age, DCI Wilson took minor wrongdoings very seriously. Once Head of the Department of Marginalised Cases (DMC), he went above and beyond to fight any form of uncalled-for behaviour, confronting those who breached the established social codes of conduct. From secret gatherings and heated arguments with next-door neighbours, to stolen and broken possessions, it was his duty to handle the disputes between members of the community, treating each case equally and fairly.”
The title, ‘Being Framed’, plays with the twofold-ness of the expression; how it can be used to refer to both incrimination and photography. Driven by mystery and deception, this multilayered body of work questions photography’s ambivalent status between fact and fiction within a narrative of imagined crimes, investigated by protagonist police detective DCI Dean Wilson.
Presented as real evidence as part of a serious inquiry, staged photographs intermingle with collages, ransom note-inspired documents, newspaper clippings and faked archival materials in a dossier-like structure — all culminating in a collection of images from an authentic-looking police report. Each case, however, remains left unsolved, questions unanswered, and facts are never fully established. Thus, the viewer is invited to take the investigation into their own hands, tasked with deciphering what to believe and with finding the missing clues within the visual puzzle.