Lindsay Seers is often known for her use of internalising the camera where she used her mouth as a camera, and her lips as the aperture and shutter. The images that were produced as a result of being in her mouth would be framed by her teeth, stained with saliva and tinged red with blood from her cheeks.
In a visit to Stockholm, Seers photographed anything that was associated with her step-sister through streams of associations and connections. There was an attempt to reconstruct the past through moving history. This leads onto Seers work of highly personal narratives while interweaving concepts of science, philosophy and photographic theory. These works help the investigation into how cinematic and photographic technologies shape us. The personal narratives include plot devices that ‘mimic the rupture at the heart of image production, creating a dramatisation of selfhood in all its melancholy and failure’ (Matt’s Gallery). The photography Seers uses is an act that creates experiences rather than records them, extending the boundaries of photography.