These photographs are no more, and do not intend to be no more, than a discreet collection of objects which might, or might not, have any definite connections with the Hull of those years, or otherwise. The possibility of such connections points to a fragmentation of the reality ‘depicted’ and, therefore, becomes irrelevant to the apprehension of the reality of this particular set of images. Reality, if anything, effects a de-fragmentation of these images, which in turn fragment themselves in it, a process possessing a myriad of variants.

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