Grace Hindle’s series stems from the physical nature of mold making. Seduced by the timing needed for the silicone and plaster to transform into a 3-dimensional object and having this form sitting in front of her, she had the urge to contextualize the objects, which was accomplished through photography. Grace Hindle’s decision to place these inanimate objects into living environments, implied a cinematic context.
       
     
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 Grace Hindle’s series stems from the physical nature of mold making. Seduced by the timing needed for the silicone and plaster to transform into a 3-dimensional object and having this form sitting in front of her, she had the urge to contextualize the objects, which was accomplished through photography. Grace Hindle’s decision to place these inanimate objects into living environments, implied a cinematic context.
       
     

Grace Hindle’s series stems from the physical nature of mold making. Seduced by the timing needed for the silicone and plaster to transform into a 3-dimensional object and having this form sitting in front of her, she had the urge to contextualize the objects, which was accomplished through photography. Grace Hindle’s decision to place these inanimate objects into living environments, implied a cinematic context.

unnamed-6.jpg
       
     
unnamed-1.jpg