The exhibition brought together three intimately connected worlds: those of museums, medicine and art. I was invited with seven other artists to assemble a cabinet of works to reflect my interest in medicine/human anatomy - this involved delving into the Wellcome Institute's substantiality/library collection spanning 18 centuries and incorporating many cultures.

The impetus for my contribution to this exhibition came from my interest in how people order, catagorise and prioritise women on either side of the ‘perfect body’, also in relation to the popular science of phrenology. Seven 25–35 year-old female non-professional models were encouraged to sit, lay, etc. in their most relaxed and natural position in order that they might reveal their emotions through their body language.

Body measurements and other statistics were taken and either of two positions chosen for photographic studies. These formed the basis for clay sculptures and were tools for further manipulation of the photographic installations. The complete installation comprised images and sculptures which might conform to, or be at variance with society’s projection of the perfect body, in combination with a selection of historical material drawing on the science of phrenology.