In his most recent body of work, Bond continues his interrogation of photographic signification, Psychoanalysis and representations of the everyday. Each image in the show is a re-photographed detail of original crime scene documentation held in the British National Archives. These close-ups catalogue the banal details of day-today life in 1950s England. A coffee tin or wallpaper pattern seem strangely familiar, perhaps not from personal experience but rather a remembrance of film or other visual motifs from popular culture.
The familiarity of these images references a collective subconscious, but within these scenes of domesticity lies an interruption of the quotidian. Each of the seemingly benign details is actually part of a larger room or space, in which a corpse was present. Excluding the harrowing image of violence from view, Bond's work instead scrutinises incidental details - hair pins, newspapers folded on a chair, biscuits arranged on a plate - as crucial entry points to understanding the dynamics underpinning the crime scene. Just as Psychoanalysis excavates meaning through anomalies, 'slips', or details which index the subconscious, Bond's photographs, like a criminologist's investigations, pursue underlying meaning through residual traces of preceding actions or events.